Sunday, May 07, 2000

'Cinderella' introduces new audience to ballet

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By Carol Norris
Enquirer contributor

        Cinderella is one of those classics that can bring people to the ballet for the first time. By sticking closely to the fairy tale version, the popular full-length production has the hook to get kids and parents to the theater.

        It has a light side. The ugly stepsisters, for example, are played for broad humor and danced by men.

Jay Goodlett (left) and Quillan Nagel portray the ugly stepsisters. (Tony Jones photo) | ZOOM |

        It also offers purely classical dance for the prince and Cinderella.

        We asked Cincinnati Ballet artistic director Victoria Morgan to talk about what might be on a first-time ballet-goer's mind, starting with the one question almost everyone wonders, but is afraid to ask . . .

        Question: Why do men wear tights?

        A: I heard a funny story about how (Vaslav) Nijinsky (one of the best male dancers of all time) was preparing to perform at the Imperial Russian Theatre in St. Petersburg around 1911. Male dancers at that time wore thick cotton tights with short bloomers. Nijinsky thought the bloomers were unnecessary and frankly ridiculous and with urging from (Sergei) Diaghilev (a famous promoter of ballet) decided to perform in tights only — without the bloomers.

        It is rumored the Dowager Empress fainted dead away to witness the male anatomy in this blatant manner. Nijinsky was fired from the theatre and Diaghilev whisked him off to be his premiere danseur for the Ballet Russe.

        Tights don't inhibit the movement and you can see the muscles and the line of the leg.

        Q: So, it's not to hide their hairy legs?

A: I like men's hairy legs.

        Q: What's with tutus, those scrunchy, stick-out skirts the women wear?

A: Tutus evolved slowly through the decades. In the earliest days, men performed the roles of women. When women began performing in ballets, they wore long gowns. At the time only men danced the difficult batterie, which is beating or crossing the legs and feet in the air.

        Marie Camargo earned her reputation in the 18th century when she jumped out of the corps to perform the variation of a male danseur who had failed to make his entrance. Her execution was flawless. After that, she enthralled and outraged audiences when she raised her skirts above her ankles to accentuate her brilliant batterie.

        From there itevolved to the romantic tutu — a lightweight tulle skirt that catches the air and floats when the ballerina jumps. As audiences wanted to see more detail of the technique and as dancers wanted to show more and fashion changed, the tutu shortened.

IF YOU GO

What: Cincinnati Ballet presents Cinderella. When: 8 p.m. Friday and Saturday; 2 p.m. Saturday and Sunday. Where: Aronoff Center for the Arts. Tickets: $9-$49, 241-7469; groups of six or more 621-5282.

        We started seeing the classic version we know today in the 1870s. It serves as a beautiful frame for the feet and legs of a female dancer — there's no hiding the finesse and articulation of the footwork.

        Q: Is Cinderella a tights-and-tutu ballet?

        A: Yes, mostly. It's a little looser than the average “classic.” In my version, Cinderella arrives at the ball in a beautiful jeweled chiffon dress with a fitted bodice, which complements the sweep of the choreography.

        Q: What makes it a classic?

        A: Prokofiev (the composer) wrote that he conceived of Cinderella “as a classical ballet with variations, adagios, pas de deux. . .” I see her not only as a fairy tale character, but also as a real person feeling, experiencing and moving among us.

        Q: Why all those French terms?

A: Ballet structure came from King Louis XIV's court in France. He was a gifted dancer himself and believed that ballet technique should have a scientific process attached to it, so he created an academy that focused on the structure of movement. Positions were labeled, steps were defined, anatomy was studied to support technical ideas and an order of advancement was established. This academy later became the Paris Opera Ballet.

        Q: Are there “must-know” terms for the audience?

A: I don't think so. It's a visceral art form. It's not about defining positions and knowing the names of steps. The discipline, commitment, level of focus from the dancers and their interpretation and years of experience will be felt by the viewer. However, now you all know what batterie is. Q: Why are the ugly stepsisters danced by men?

A: In 1948, the director of the Royal Ballet, Frederick Ashton, choreographed his version. At that time, men dressing en travesti in English music halls was a very popular form of entertainment. Ashton actually cast himself and principal danseur Robert Helpmann in the ugly sister roles. His interpretation was an immediate hit and choreographers have been using his interpretation as a guide. It is rumored that Freddie Franklin, Cincinnati Ballet's artistic director emeritus, was a brilliant ugly sister.

        Q: Why do women dance on pointe?

        A: Pointe became popular with the romantic era in the mid-1800s. What else could better express the other-worldliness of a supernatural creature than a woman suspended on pointe?

        I think it stayed beyond the 1800s because it's so aesthetically pleasing. I was 6 feet 2 inches on pointe and loved the sensation of soaring and spinning at that pinnacle. Once the blisters go away and calluses have toughened the skin, it's a great sensation.

        Q: What if you've never been to the ballet before, how should you dress?

A: Some people come straight from work on casual Friday, others wear suits and ties and dresses of all sorts. And there are others on opening night who go for the gusto in a tuxedo. No rules!

        Q: Is it OK to clap when you like something?

A: We love it when you clap. It always surprises me how different audiences choose to clap at different moments. Sometimes the sets will get the applause, sometimes it's an amazing technical feat, or even just the climax of the music, but I have never attended a ballet here (and I hope I never do) that didn't get applause at the end.

        By the way, it is perfectly acceptable and encouraged to yell “bravo” (for men), “brava” (women) or “bravi” (for the group) along with hooting and whistling.

        Q: How do you know if what you saw is any good?

A: Did you like it?

       

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