Ballet Des Moines brought Sergei Prokofiev’s Cinderella to the Des Moines Civic Center earlier this month — a timeless tale made for the big stage. This charming production drew audiences of all ages, thanks in great part to their Community Ticketing Program, a partnership with Iowa libraries that has introduced ballet to hundreds of library patrons throughout their season.
Cinderella marks the first collaboration between Ballet Des Moines and the Des Moines Symphony. The orchestra, under the baton of guest conductor Jared Oaks, brought Prokofiev’s sumptuous score to life, supporting the dancers with a captivating musical landscape. Truly nothing compares to the magic of live music and dance performed together, and I hope Cinderella is merely the first of many collaborations to come between the two local arts entities.
The ballet featured a large cast of company dancers and apprentices as well as an ensemble of children from the community. Megan Boyette was ethereal as the Fairy Godmother, ushering Cinderella and the audience into a woodland realm populated by an array of seasonal fairies and adorable gnomes.
Jordan Powers and Cameron Miller delivered the comic relief as the stepsisters, Minnie and Maxxie. Both dancers struck just the right balance between physical comedy and artistry, demonstrating a keen ability to dance skillfully while appearing clumsy. Miller was a particular crowd favorite as the taller stepsister with a secret soft spot for Cinderella. Maxxie’s romance with the Friend of the Prince, portrayed by Noah Klarck, was both funny and sincere. Their height difference and an oversized feather fan enhanced the humor of their antics, but their connection felt genuine.
Savannah Cox played the antagonist of the story, Barbarra, Cinderella’s cruel stepmother. Cox’s haughty bearing and sharp movements physically conveyed her ill intent, but her smile was just a little too nice to be a truly convincing villain.
Eddie Kidd danced with athletic precision as the Prince, bounding across the ballroom and sweeping Cinderella off her feet. Amelia Grubb Hillman performed the leading role of Cinderella with candor and charm, transforming from meek victim to confident beauty with ease. The chemistry between Hillman and Kidd was sweet and rather formal. Their final pas de deux made for an elegant happy ending despite a minor costume entanglement which the dancers navigated with grace.
Resident choreographer Tom Mattingly brought the beloved fairytale to life through skillful staging. Some of the earlier narrative scenes were a bit slow to draw the audience in, but Mattingly delivered the magic as soon as the fairies graced the stage. The physical comedy was amusing without being too distracting, especially in the final act when the stepsisters were trying to shove their feet into the glass slipper. Mattingly’s choreography is most striking in the larger ensemble moments. He managed to create stunning visuals without overwhelming the scenery, and each individual dancer felt vital to each scene. The royal ball was particularly captivating with its ever changing tableaus of characters. Mattingly let the dancers shine during the various pas de deux, conveying both comedy and romance with equal nuance and skill.
Cinderella is a beloved tale that celebrates kindness and resilience, and Ballet Des Moines truly captured the heart behind this classic story. While the venue may have been less intimate than their usual stage, this production felt just as warm and inviting as always. I hope the dance company will continue to undertake full-length narrative ballets in the future, since this endeavor was such a success. Truly a fairytale ending to a phenomenal season.
