I HAD A BALL
Composed during tumultuous World War II, Cinderella is regarded as one of Sergei Prokofiev’s most popular compositions which made its debut in Moscow in 1945. The piece is well-loved for its jubilant and melodic score, which lends itself to all the fantastic lifts and leaps inherent in the story of love, overcoming obstacles, and personal resilience no matter the odds. With captivating choreography by Edwaard Liang, the reimagined story presents Cinderella as a very relatable young woman, adding emotional depth, new twists, and a touch of humor to the classic children’s fairy tale by Charles Perrault.
Cesar Ramirez-Castellano as Jester with
Shintaro Akana, John Dekle Jake-Ray and Bryce Broedell
During its run at the Dolby Theatre in Hollywood from June 12-15, Los Angeles Ballet’s Cinderella offered several dancers from their company, as well as local area youth, to step into various roles. Presented with a full orchestra conducted by Gavriel Heine, this is not only a wonderful cap to a season which included Memoryhouse, but proof that LAB is getting stronger every year.
Kate Inoue
The ballet opens during a dream sequence as a rag-wearing Cinderella (lithe and lovely Sarah-Ashley Chicola) is gathering kindling in the forest close to where her parents are buried. There she spies a young girl (animated Ariana Belliston) running joyfully through the trees, then realizes it’s her as a young child when she is joined by her mother (Lilly Leech) and father (Jake Ray). Memories of her mother’s death and father’s remarriage soon overtake Cinderella who watches helplessly as her parents and younger self dance away, leaving her alone to face the future with her evil Stepmother (Sareen Tchekmedyian) and Stepsisters (Paige Wilkey and Cassidy Cocke).
Natalia Burns and Paige Wilkey
At the start of Act II, Cinderella awakes from her dream and begins to tidy her Stepmother’s house as the heartless social climber and her two self-centered daughters are all aflutter after a Messenger (Caleb Coffee) delivers an invitation to the Prince’s Ball. Cinderella is not allowed to attend the occasion; all she can do was watch them get ready (aided by dressers Marco Biella and Kross Michaels) before departing. That’s the moment Cinderella’s Fairy Godmother (Aviva Gelfer-Mundl) reveals herself and proceeds to prep the poor young woman for an enchanting evening during which she will outshine every other woman at the Ball.
The Company
But unlike the classic tale, this Fairy Godmother is assisted by the flora and fauna of the forest, comprised of 36 dancers of all ages who portray Seasonal Fairies, Dragonflies, Flowers, Sprites, and the cutest young dancers as Bumblebees and Butterflies. Various solo and ensemble numbers highlighted each dancer’s skill as they offered imaginary dreamlike characters to adorable perfection. But before an astonished and grateful Cinderella is whisked away in a lovely white carriage, an assortment of large clocks descends into the scene to remind Cinderella of her midnight curfew.
Kate Inoue
Technical Director Brian Dawson and his extensive team of designers has transformed the Dolby stage into many highly stylized locations; especially beautiful is the mirrored-wall Palace in Act II for the Prince’s Ball, highlighted by Liang’s dazzling choreography and the lovely pale blue ensembles for members of the court by Costume Director Chloée O’Hayon-Crosby and her assistants, adding a real sense of magic and fantasy to the production.
Cesar Ramirez
Amazing leaps and lifts were performed by The Prince (Jonas Tutaj) and the Ball’s MC (Marco Biella), both clad very snugly in regal white outfits, entertaining the ladies who hope to catch the Prince’s eye. But it is Jacob Soltero as a most striking Court Jester who added humor throughout with his extradentary twists and gravity-defying leaps. When Cinderella arrives in the exquisitely youthful white dressy tutu, it’s easy to see why the Prince, who has been courted by every single woman there – especially Cinderella’s rich in character, comically odd stepsisters – who is immediately enchanted by the eye-catching Cinderella. Their stunningly beautiful pas de deux offered insights into the overwhelming obsession of first love, one that must have enchanted every young girl in the audience to believe their own Prince will arrive one day.
Sareen Tchekmedyian (seated) as Step-Mother
The final act centers on the Prince’s search for the mysterious woman who fled the ball, leaving behind a sparkling slipper (lost offstage) in her haste to escape before midnight. Now back in her rags, Cinderella isn’t even offered the chance to try it on. Of course, the slipper fits no one else, and the Stepmother and Stepsisters’ increasingly desperate — and hilariously exaggerated — attempts to squeeze into it is hilarious. Ultimately, Cinderella produces the matching slipper, proving she is the one who danced and captured the Prince’s heart.
Sarah-Ashley Chicola
His realization that she is the woman he wants to marry is celebrated with a romantic pas de deux — so captivating you could hear a pin drop. The Fairy Godmother then reappears, joined by all the magical creatures of the forest, and the entire ensemble is transported back among the trees to celebrate the couple’s marriage. It’s a joyful, hopeful finale, making Los Angeles Ballet’s Cinderella a charming and heartwarming experience for everyone from a balletomane to a newbie.
Marcos Ramirez
photos of June 12 performance by Cheryl Mann Photography
(front) Abigail Gross, Cleo Taneja, Cassidy Cocke,
(back) Lilly Fife, Anna Jacobs, Brigitte Edwards
Cinderella
Los Angeles Ballet
Dolby Theatre in Hollywood; played June 12-15, 2025
reviewed on June 14 at 7:30
for more info, visit LA Ballet
