Also this issue:

Three Sisters
Theatre Exile presents a world premiere that’s a real family affair.
-Deni Kasrel

Remembering Ella
Local artists react to the death of Ella King Torrey
-David Warner

Still Here
Elaine Stritch (still) isn’t afraid to speak her mind.
-A.D. Amorosi

Gentlemen Volunteers
-Juliet Fletcher

Philadanco
-Janet Anderson

Project Room Benefit Party
-Debra Auspitz

Rennie Harris Puremovement at Salute to Youth
-Deni Kasrel

Stango Gallery opening
-Debra Auspitz

May 8-14, 2003

dance

Cinderella

by Janet Anderson

Cinderella, the sumptuous story ballet currently at The Academy of Music, is more than a beautifully mounted production. It’s an opportunity for area theatergoers to see just how rich and deep the talent is at Pennsylvania Ballet these days. This visually stunning and charming confection was choreographed by Houston Ballet’s Ben Stevenson, a Brit who came to this country from Royal Ballet, where he learned his stuff from the master ballet storyteller himself, Sir Frederick Ashton.

Three-act story ballets are not to everyone's taste, but this one's so well-paced it actually seems quite short. It speeds right by because the ballet is plotted as a comedy for a large cast of characters, and for once this really works. It actually is funny and the character bits and specialty dances are all so individually well-choreographed (and, on opening night, well-performed) that it's over at just the right point -- too soon.

It doesn't hurt either to have Prokofiev's shimmering score, almost as wonderful as his brilliant music for Romeo and Juliet. Visually, Cinderella's a treat for the eyes with deep, muted colors ranging from the sooty grays of Cinderella's kitchen to the palace ballroom awash in deep purples, pinks and gold. The transformation scenes are integrated into the story, and while it's beguiling to see the set change in front of your eyes, or watch Cinderella's truly fabulous carriage appear, no one, thank goodness, applauds.

You go to ballet to see dancing, and it was good from top to bottom. Martha Chamberlain and Alexei Borovik are fine as Cinderella and the Prince, roles they've danced together many times. They're comfortable with each other and the parts, and look good doing them. Ballet traditionally casts men as the stepsisters, and Kelly Moriarty and Juan Carlos Penuela are a genuine hoot, hitting just the right note between farce and hamming it up. Arantxa Ochoa is a dream as the fairy godmother, and technically the best person on stage. The spring, summer, autumn and winter fairies are wonderful, with a special nod to Charity Eagens, a delicate spring.

There's not enough space to do justice to all the good dancing. Philip Colucci, back after injury, jumping to the ceiling as the jester. Edward Cieslak, perfection as the silly dance master. The list is endless. Folks, we have a real honest-to-goodness serious ballet company. See it.

Cinderella

Through May 10, Pennsylvania Ballet at The Academy of Music, Broad and Locust sts., 215-893-1999.