Birmingham Royal Ballet’s Cinderella, choreographed by Sir David Bintley, is a spellbinding fusion of classical elegance, theatrical grandeur and breathtaking stagecraft. Since its 2010 premiere, this lavish production has captivated audiences with its dazzling visuals and emotionally rich storytelling, reaffirming Cinderella’s place as one of ballet’s most enchanting fairy tales. From the first haunting image of Cinderella at her mother’s grave to the glittering spectacle of the royal ball, Bintley’s interpretation is both opulent and deeply moving, striking a perfect balance between fantasy and heartfelt drama.
Bintley, in the program, recalls telling former Birmingham Royal Ballet CEO Christopher Barron in 2008 that if John Macfarlane could design the sets, he’d create his own Cinderella – and thank goodness he did. Macfarlane, one of the most esteemed stage designers in the UK, is the true star of this production.
The stark, grey-toned kitchen where she lives with her cruel stepfamily is a masterpiece of set design, with its realism and palpable isolation, thanks to the inclusion of a real fire on stage. It’s a bold, striking start that sets the emotional tone for the journey ahead.
But it’s when the magic happens that Macfarlane’s genius really shines. The arrival of the Fairy Godmother marks a breathtaking transformation. The stage shifts into a celestial dreamscape, with starry backdrops and a magnificent glass carriage that seems to materialise from thin air. It’s a moment that truly feels like magic, with the entire theatre suspended in wonder. The ball sees the corps de ballet glide beneath a canopy of twinkling stars, the stage bathed in ethereal light, creating an atmosphere of pure enchantment. The set design here takes you far beyond the world of Cinderella, transporting you to a realm of fantasy where anything is possible.
Equally remarkable is the lighting by Peter Teigen, which complements Macfarlane’s set designs flawlessly. From the soft glow over Cinderella’s sorrowful moments to the bright, dreamlike sparkles in the magical scenes, the lighting enhances every shift in tone and emotion. It adds depth and warmth to the performance, creating a rich, immersive experience for the audience. Every transition, from despair to wonder, is underscored by lighting that amplifies the sense of magic and urgency.
The Royal Ballet Sinfonia, conducted by Yi Wei, provides the musical heart of the production. Sergei Prokofiev’s evocative score is a true highlight – its striking brass sections and sweeping melodies capture the essence of the story perfectly, shifting between moments of joy and sorrow with clarity and precision.
The orchestra’s performance is stunning, and the way it builds the emotional landscape of the ballet is masterful. However, it was a touch quiet, especially in Act I; a little more sound could have drowned out the winter coughs and fidgeting from the many young Cinderella enthusiasts in the audience.
Nonetheless, Yi Wei’s passionate conducting earned him the loudest applause of the night when this reviewer attended – an undeniable testament to the orchestra’s brilliance and his leadership.
Rosanna Ely and Olivia Chang-Clarke, as Cinderella’s stepsisters, are crowd favourites, injecting their performances with humour and cruelty. However, for those expecting the panto-style slapstick of Frederick Ashton’s iconic drag stepsisters, their portrayal may seem a bit tame. This was a purposeful choice by Bintley, who is aiming to give the stepsisters more grounded characteristics that don’t overshadow Cinderella herself.
Disappointingly, much of the humour stems from one stepsister’s weight, a punchline that feels outdated and out of place in 2025, particularly in a ballet world increasingly aware of harmful body standards. It’s worth noting that this ‘fat stepsister’ trope, popularised by Ashton’s 1948 Cinderella, doesn’t have roots in the original fairy tale and could easily be left behind.
That being said, Bintley’s changes ensure that Cinderella takes the spotlight where she belongs. Soloist Sofia Liñares dances the title role with grace, vulnerability and strength, beautifully embodying a young woman dreaming of a better life.
Max Maslen’s Prince is a capable partner, though their Act II pas de deux had a few moments of unsteadiness. Still, these minor hiccups are quickly forgiven in the face of the breathtaking orchestral accompaniment and mesmerising lighting. The lead dancers switch roles throughout the show’s run, showcasing the depth of talent within the Birmingham Royal Ballet’s roster, but perhaps explaining some of the wobbles and slight lack of chemistry between Liñares and Maslen.
One of the most striking elements in the production is the clock motif. The enormous clock in Act II, as it assembles on stage, with its gears turning and smoke billowing, is truly awe-inspiring, amplifying the urgency of midnight’s approach. The clock’s chimes, resonating throughout the theatre, raise the tension to almost unbearable levels, propelling the narrative toward its inevitable conclusion.
Read: Music theatre review: Sweeney Todd, Komische Oper Berlin, Schiller Theatre Berlin
Bintley’s Cinderella is a triumph of set design, lighting and music. Macfarlane’s visionary sets and the Royal Ballet Sinfonia’s performance transport the audience into an enchanting, magical world. Though some outdated humour could be refined, the production succeeds in making Cinderella the true star of the show. This is a Cinderella that not only enchants the senses, but also reminds us of the power of magic, dreams and transformation.
Cinderella
Birmingham Royal Ballet
Birmingham Hippodrome
Music: Sergei Prokofiev
Choreography: David Bintley
Design: John Macfarlane
Original Lighting: David Finn
Lighting: Peter Teigen
Conductor: Yi Wei
Cast: Sofia Liñares, Max Maslen Rosanna Ely, Olivia Chang Clarke, Laëtitia Lo Sardo, Isabella Howard, Beatrice Parma, Eilis Small, Tessa Hogge, Yu Kurihara, Ryan Felix, Jack Easton, August Generalli, Tom Hazelby, Ixan Ferrer, Mason King, Philip Aird, Robert Simmons, Enrique Bejarano, Haoliang Feng, Gus Payne, Shuailun Wu, Jonathan Payn, Hollie Francis, Olivia Duong
Cinderella will be performed until 1 March 2025 before touring nationally.
