THE ROYAL BALLET
Director
Founder
Founder Choreographer
Founder Music Director
Prima Ballerina Assoluta
A co-production between The Royal Ballet and the National Ballet of Canada
The Royal Ballet dedicates this Season’s performances to the memory of Her Majesty Queen Elizabeth II
Generous philanthropic support from Julia and Hans Rausing, Aud Jebsen, David Fransen, Huo Family Foundation, Philipp Freise, Doug and Ceri King, John and Susan Burns OBE, Sir Lloyd and Lady Dorfman OBE, Kenneth and Susan Green, Clare Jakeman, Rena and Sandro Lavery, Melinda and Donald Quintin,Lindsay and Sarah Tomlinson, The Frederick Ashton Foundation, The Cinderella Production Syndicate, The Friends of Covent Garden, the American Friends of Covent Garden, the Royal Opera House Endowment Fund and an anonymous donor
In memory of Judy Harris and the late Herbert Kennard
The 2022/23 Royal Ballet Season is generously supported by Aud Jebsen
Cinderella
Ballet in Three Acts
28.03.2023 19:30
APPROXIMATE TIMINGS
GUIDANCE
Children under the age five are not permitted into our auditoria. Children over age five must have their own ticket and sit next to an accompanying adult. There are bright lights projected into the auditorium at the start of the performance.
CREDITS
CAST
Junior Associates of The Royal Ballet School appear by kind permission of the Artistic Director Christopher Powney
Music appears by permission of Boosey & Hawkes Music Publishers Limited
The role of Cinderella is supported by Sue Butcher, Sarah and Nigel Hammond and Stuart and Jill Steele
The role of The Prince is supported by Simon and Tracey Holden
The roles of Cinderella’s Step-Sisters are supported by Stephanie Tyrer
SYNOPSIS
ACT I
A room in the house of Cinderella’s father
Cinderella’s step-sisters are highly excited: they have been invited to a ball at the palace. Cinderella, however, must stay at home, where all day long she is made to sweep, clean and polish. Alone for a moment, Cinderella recalls the happy days when her mother was still alive. Her father misses those times too, but is afraid of his bad-tempered step-daughters, who scold him angrily when he tries to comfort Cinderella.
A mysterious woman appears and asks for help. The step-sisters drive her away, but Cinderella offers her some bread. The woman casts a gentle look at Cinderella and disappears.
Tradespeople arrive, and dressmakers, a hairdresser and a jeweller help the step-sisters to prepare for the ball. With their dancing-master, they practise the gavotte. Cinderella’s father and step-sisters set out for the ball, and she is left sad and alone.
The mysterious woman reappears and reveals herself as Cinderella’s Fairy Godmother. She summons the fairies of Spring, Summer, Autumn and Winter who each offers Cinderella their season’s gifts. Far away from her grey, everyday existence, Cinderella is taken to an enchanted realm of beauty and fantasy high up among the stars.
As a reward for her kindness, Cinderella shall go to the ball. The Fairy Godmother warns her that she must leave before the clock strikes midnight, or all the magic charms will fade away. Escorted by the Seasons and the Stars, Cinderella rides away to the ball.
ACT II
The palace
The court jester is waiting for the ball to begin. The guests arrive, including Cinderella’s father and step-sisters. A fanfare heralds the entrance of the Prince. Cinderella arrives in her magical pumpkin coach, so beautiful that everyone takes her for a princess; even her step-sisters fail to recognize her. The Prince is charmed by her beauty, and offers her oranges, the rarest fruit in his realm. The guests disperse and the Prince and Cinderella, left alone, declare their love for each other. The waltz resumes and, caught up in the dance, Cinderella forgets the Fairy Godmother’s warning. Suddenly she hears the clock strike twelve and rushes from the palace, losing one of her slippers on the stairs. Dismayed, the Prince picks up the slipper and vows he will find the young woman he loves.
ACT III
After the ball
Cinderella finds herself once again at the fireside, wondering if it were all a dream. The elegant slipper in her apron convinces her that she really was in the palace garden and had danced with the Prince. The step-sisters arrive home and boast to Cinderella about their conquests at the ball.
The Prince appears, searching for the young woman who lost the slipper. Both the step-sisters try to cram their feet into the delicate slipper. Cinderella kneels to help and the second slipper falls out of her pocket. The Prince immediately recognizes in the modest Cinderella the beautiful princess from the ball.
The Fairy Godmother appears. The lovers are united and walk away into the golden light of happiness.
THE ROYAL BALLET
Music Director
Resident Choreographer
Artistic Associate
Administrative Director
Rehearsal Director
Clinical Director Ballet Healthcare
DIGITAL CAST SHEETS
We are working to make the Royal Opera House more sustainable. To do this, some of the ways in which we share information have changed, including cast sheets.
You can view the digital cast sheets on a computer, tablet or smartphone. You can also download and print the digital cast sheet. Check the digital cast sheet for the most up-to-date information before the performance starts, during the interval, or after the performance day.
Scan the QR codes displayed around the building with a smartphone to view the latest digital cast sheets. The cast sheets are also displayed on screens outside the auditoria.
Cast sheets generously supported by the Royal Opera House Endowment Fund.
GUIDELINES
Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.
Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.
Please do not place any personal belongings on the ledges in front of you.
Only bottled water and ice cream purchased from the premises can be taken into the auditorium.
If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.
Smoking and vaping are not permitted anywhere on the premises.
The safety of our visitors, staff and artists is still our priority. There are hand sanitiser stations throughout the building. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.
Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.
SUPPORT OUR ONGOING RECOVERY
We are so glad to welcome our artists back to our theatres to perform for you the opera and ballet you love. During the pandemic we lost £3 in every £5 of our income and we continue to feel the impact as we recover. Sustaining the future of ballet and opera has never been so important. Please consider making a donation to the Royal Opera House community today and help support the future of ballet and opera.