Cinderella ****

Royal Opera House

The Royal Ballet’s annual festive offering is usually The Nutcracker but this year we have the chance to take another look at the company’s revamped production of Cinderella.

Luca Acri in Cinderalla Photo:Andrej Uspenski

There are some wonderful things to enjoy in this audience favourite – first and foremost is Frederick Ashton’s intricate choreography. He created fiendishly difficult variations for the fairies representing different seasons: footwork is speedy and kept close to the floor; turns are off-centre, giving a swirling effect and there is maximum use of épaulement – the placement of the head and upper body which gives such light and shade to movement. Watching Cinderella is like taking a masterclass in Ashton’s style.

Prokofiev’s score, though undoubtedly not as familiar as Tchaikovsky’s Nutcracker (which is hard to avoid at this time of year), is wonderful – a melancholy theme for Cinderella in Act I, glorious melodies for the fairies and that haunting, pervasive Waltz of the Stars which brings Act I to a close and returns in Act II in a more malevolent form as midnight approaches.

Gary Avis as a step sister in Cinderella Credit:Andrej Uspenski

Costumes are a riot of colour with the stepsisters (more stupid than spiteful here and providing plenty of light relief) bedecked in lime green, purple and pink. Flowers and the power of nature are recurring themes throughout, making this a particularly pretty production.

On opening night Marianela Nunez was partnered by Reece Clarke, as Vadim Muntagirov, her regular partner, is currently injured. Clarke has the bearing and height to make an impressive Prince and if the natural charisma with Nunez was a little underpowered, there is still much to admire: being so tall and strong, he makes all the lifts look effortless.

Meaghan Grace Hinkis in Cinderella Credit: Andrej Uspenski

Nunez shines as the heroine of our fairytale with her sure technique (my goodness, her bourrées are fast) coupled with fine characterisation. Mayara Magri is a kind Fairy Godmother, with secure balances and sweeping, beautiful port de bras.

As the Prince and Cinderella climb a staircase to the stars at the ballet’s conclusion, I can’t help thinking this production provides the perfect happily ever after we all so desperately need right now.