Fiona Gordon: The voice at the beginning of Cinderella on Ice that reminds us that cellphones should be switched off, also suggests I be prepared to find the edge of my seat.
I think it’s a bit of a presumptuous remark, but soon find myself sitting in exactly that position!
The Artscape Opera House stage is transformed into an ice-rink. That in itself is no mean feat requiring the creation of 14 tonnes of ice during the run of the show.
But what amazes me even more is what happens on and around the ice.
The stage design, for starters, is superb – windows are lit from ‘inside’ the buildings, and the handles of the clocks turn – forwards and backwards! – to mark the passage of time. The monochrome ballroom forms a striking contrast to the colour of the town scenes; and virtually every theatrical technical trick is harnessed for this magical performance – from pyrotechnics, to flies and various forms of projection and lighting and sound effects.
And the Imperial Ice Stars, who really do dance on the ice, accomplish remarkable things in the tiniest of spaces, with the greatest precision. Andrei Penkine is the Lord Mayor’s Son, to Olga Sharutenko’s Cinderella, and they are a sight to behold. But no matter who is gracing the stage, the standard of skating and acting is exactly what one would expect of a world-class company – even from the young boy who features in the ‘town’ scenes. Goose-bump-inducing – and not from the cold!
The story is based on the classic fairytale, but does not follow tradition to the letter, and that’s quite lovely. The score is specially composed, and makes clever use of leitmotif to enhance the drama. The father and daughter relationship features strongly and helps to expand the human element, but the magic of fantasy is retained with features such as the moving clocks, which come ‘alive’ to show the marching of time; and through the fortune teller who weaves magic which results in the formation of a carriage before our eyes!
One of my favourite scenes is the presentation of the Swan Lake dance recital, which is masterfully constructed, and performs to an audience in the backdrop.
Equally memorable, the shoe-fitting scene, where all the ladies skate with one boot off!
Choreographic interest is maintained through the combination and juxtaposition of the gliding motions often associated with skating, and percussive, staccato movements – difficult as this is to comprehend, on ice – and tricks designed to make the audience gasp and cheer. Cartwheels and flick flacks and and even a ‘Michael Flatley’ moment or three, add to the excitement…
The feisty stepmother (Olena Pyatash) is commanding in a flamboyant wine-red costume befitting the strong and sharp character required of the role. All of the costumes, in fact, are fabulous. Another feature in a show where everything is of the highest standard. Throughout, incredible attention to is paid to detail, and therein lies the phenomenal success of this production, as those details combine to create a bold and spectacular whole.
Cinderella on Ice plays at the Artscape Opera House until 7 February 2010. Bookings on 021 421 7695.
Fiona Gordon
fiona@artslink.co.za
www.artslink.co.za
Website: www.cinderellaonice.co.za
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