Origins and Musical History
The ballet Cinderella (Zolushka in Russian) is most famously associated with Sergei Prokofiev, who composed his version between 1940 and 1944, during some of the darkest days of World War II. However, the ballet's history extends back earlier. The first notable ballet adaptation of the Cinderella story was created by composer Baron Vladimir Stenbok-Fermor in 1893 for the Imperial Mariinsky Theatre in St. Petersburg.
Prokofiev's score stands as a masterpiece of 20th-century ballet music. He approached the composition with a unique vision, combining classical romanticism with modern elements. The score features memorable waltz themes, particularly in the ballroom scenes, and innovative use of leitmotifs for different characters. For instance, Cinderella's theme carries a dreamy, romantic quality, while the stepsisters are characterized by deliberately awkward, angular musical phrases.
What makes Prokofiev's interpretation particularly interesting is how he balanced the fairytale elements with deeper emotional complexity. He wrote much of the score during wartime, and this context influenced his work, infusing moments of darkness and melancholy alongside the magical elements.
The Story
Act I - Cinderella's Home
The ballet opens in the kitchen of Cinderella's family home. Cinderella is seen doing menial tasks while her stepsisters, typically portrayed as both cruel and comically inept, prepare for an upcoming royal ball. The stepsisters quarrel over jewelry and dresses, each attempting to outdo the other. Their mother, the Stepmother, supervises their preparations while heaping more work upon Cinderella.
An old beggar woman appears at the door asking for help. While the stepfamily ignores her, Cinderella shows kindness by offering her bread. After the stepfamily departs for the ball, leaving Cinderella behind, the beggar woman reveals herself as Cinderella's Fairy Godmother. She summons the fairies of the four seasons (Spring, Summer, Autumn, and Winter), each performing a distinctive variation that represents their season.
The transformation sequence follows: the Fairy Godmother turns a pumpkin into a carriage, mice into horses, and transforms Cinderella's rags into a magnificent ball gown. Most productions feature sparkling pointe shoes or glass slippers as a crucial element. The Fairy Godmother warns Cinderella that the spell will break at midnight and sends her to the ball.
Act II - The Royal Ball
The act opens with court dancers performing at the palace ball. The stepsisters arrive and attempt to impress the Prince with their awkward dancing. When Cinderella enters, the entire court is struck by her beauty and grace. The Prince, who has been bored by the previous proceedings, is immediately captivated.
The centerpiece of this act is the grand pas de deux between Cinderella and the Prince, typically choreographed to showcase both technical brilliance and growing romantic connection. Their dance is interrupted by various divertissements (short dance pieces) featuring court entertainers and guests.
As midnight approaches, the clock begins to strike. This scene is one of the most dramatic in the ballet, with Prokofiev's music incorporating twelve distinct chimes. Cinderella flees in panic, losing one of her slippers on the palace steps. The Prince finds the slipper and vows to search the kingdom for its owner.
Act III - The Search and Resolution
The third act begins with the Prince's journey throughout the kingdom, accompanied by his courtiers. This sequence often includes multiple short scenes of various women trying on the slipper. The stepsisters' attempt to fit the slipper is typically played for comedy, with some productions having them resort to desperate measures like trying to cut off their toes or heels (though this element from Grimm's version is usually suggested rather than shown explicitly).
When the Prince arrives at Cinderella's house, the stepsisters fail to recognize her as the mysterious woman from the ball. Cinderella, still in her servant's clothes, asks to try the slipper. The Stepmother and stepsisters mock her request, but the Prince insists that every maiden must have a chance.
The slipper fits perfectly, and Cinderella produces its mate from her pocket. In many versions, the Fairy Godmother reappears to transform Cinderella back into her ball gown, proving her identity to all. The stepfamily is forced to acknowledge Cinderella's triumph.
The Final Scene
The ballet concludes with a wedding celebration, featuring a magnificent pas de deux for Cinderella and the Prince. This final dance often incorporates themes from their ballroom encounter, now transformed into an even more spectacular display of classical technique. The corps de ballet joins in the celebration with a series of ensemble dances.
Different Productions' Variations
Various productions have added their own unique elements to this basic structure:
- Some versions include a prologue showing Cinderella with her father and mother before her mother's death
- Certain productions expand the roles of the seasonal fairies, giving them more prominent parts throughout the story
- Modern interpretations sometimes set the story in different time periods, such as 1940s Hollywood or contemporary times
- Some versions develop the Prince's character more fully, showing his dissatisfaction with court life before meeting Cinderella
- Certain choreographers add dream sequences where Cinderella imagines attending the ball before the Fairy Godmother appears
The narrative's mix of fantasy, romance, and moral lesson about kindness being rewarded has proven remarkably adaptable to different choreographic interpretations while maintaining its core emotional appeal. Whether staged traditionally or with contemporary twists, the story's fundamental themes of transformation and true love transcending social barriers continue to resonate with audiences of all ages.
Notable Productions and Impact
The ballet premiered at the Bolshoi Theatre in 1945, choreographed by Rostislav Zakharov. Since then, numerous choreographers have created their own versions, each adding to the ballet's rich legacy. Frederick Ashton's 1948 version for the Sadler's Wells Ballet (now Royal Ballet) is particularly significant, featuring him performing one of the stepsisters in drag, establishing a tradition that continues in many productions.
Rudolf Nureyev created a darker, more psychological version in 1986 for the Paris Opera Ballet. More recently, contemporary choreographers have reimagined the ballet in fascinating ways, setting it in different time periods or exploring deeper themes of transformation and self-discovery.
Cultural Impact and Legacy
Cinderella has become one of the most frequently performed narrative ballets worldwide, second perhaps only to Swan Lake and The Nutcracker. Its accessibility and emotional resonance make it an ideal "first ballet" for new audiences, while its musical and choreographic complexity satisfies experienced ballet enthusiasts.
The ballet has contributed significantly to dance pedagogy, with variations from Cinderella being standard teaching pieces in classical ballet training. The role of Cinderella herself has become a coveted one for ballerinas, requiring both technical prowess and dramatic ability to convey the character's transformation.
Beyond the dance world, Prokofiev's score has influenced concert music, with suite arrangements frequently performed by orchestras. The ballet has also inspired numerous adaptations and reinterpretations in other dance forms and media, demonstrating its enduring relevance to contemporary audiences.
The success of Cinderella helped establish the viability of new full-length story ballets in the 20th century, proving that modern composers and choreographers could create works that matched the artistic achievement of the 19th-century classics while speaking to contemporary sensibilities.
This ballet continues to evolve, with each new production finding fresh relevance in its themes of transformation, justice, and the triumph of kindness over cruelty. Its enduring appeal lies in how it combines spectacular entertainment with genuine emotional depth, making it a cornerstone of the classical ballet repertoire.