Christopher Wheeldon’s New Cinderella, for San Francisco Ballet

Maria Kocketkova as Cinderella, and her four anonymous "helpers." Photo by Erik Tomasson.
Maria Kocketkova as Cinderella, and her four anonymous “helpers.” Photo by Erik Tomasson.

The San Francisco Ballet ended its run with a week of performances of Christopher Wheeldon’s new Cinderella. As I write in this review for DanceTabs, it’s a handsome work, but not completely satisfying dramatically. The designs, by  Julian Crouch, are supremely elegant, as is Wheeldon’s choreography. But Prokoviev’s score is tricky and episodic, and the ballet doesn’t manage to transcend these difficulties or really touch the heart. Still, it’s a great showcase for the company’s strong, polished dancers.

San Francisco Ballet Comes to Town

And here’s my review of the first night.

Sofiane Sylve in Christopher Wheeldon's "Ghosts."
Sofiane Sylve in Christopher Wheeldon’s “Ghosts.” Photo by Erik Tomasson.

A little excerpt:

“The company looks to be in top form. Throughout the evening, the dancers moved with real power and drive, plunging into the steps, taking no prisoners. The company style seems to combine the speed and attack of City Ballet with the three-dimensionality and grandeur of American Ballet.”

Not so taken with the last ballet of the evening, Wayne McGregor’s Borderlands: “McGregor seems obsessed with the dancers’ butts and ribcages, both of which are prominently displayed. There is a certain fascination to watching bodies being contorted in awkward, self-consciously ugly, wide-open poses, but, at least for me, the fascination passes quickly, leaving a kind of glazed shellshock.”