Lavish, lively and thoroughly enthralling: Edinburgh Studio Opera’s Cendrillon dazzled with their absolutely extraordinary show-case of talent at Pleasance Theatre 3rd, 5th and 6th March.
Jules Massenet’s Cendrillon, directed here by Iona Boyd, follows Perrault’s version of the Cinderella fairy tale; ESO’s exceptional retelling displayed brilliant performances from Chorus and leads alike, as well as an utter mastery of production elements, in particular Almut Echtler’s astonishing costume design.
The Opera’s opening instantly foregrounded the vivaciousness of the Chorus: as staff in the Haltière household (characterized aptly through an almost-offensively bold shade of red) their meticulous tasks coincided with their laments of dislike for matriarch Madame de la Haltière, portrayed by Nicole Dickie. An imposing, spectacular presence, Dickie’s vocal ability was characterful and staggering; Madame de la Haltière’s powerful influence on her daughters Dorothée and Noémie (Hannah-Rose Laverick and Aarya Gambhir, respectively), became entertaining and comedic in their perfectly-curated puerile naivety, and flustered willingness to impress their mother.
Introduced in a state of frustration, Lily Hodge’s Prince Charmant was utterly entrancing: the perfect intermingling of passionate, yet tender, frustrated and angsty yet heartfelt and open, bolstered by nuanced use of voice, made for a stand-out performance. The chemistry between Hodge and Lara Keen’s enchanting portrayal of heroine Cendrillon was undeniably palpable, and their romance was further communicated through the prevalent colour-scheme. Clad in light blue, Cendrillion stood out against the red of the Haltière household, whilst Charmant’s light blue shirt, contrasting with the orange of the court, reinforced their shared destiny.
The arrival at the court again opened with the expertise of the Chorus; Choreography by Simon Hanks communicated the opulence and court prestige, especially through the incorporated use of fans.
Echtler’s costume impressed throughout: the myriad of orange silk, copper corduroy and excessively extravagant attires, for example during these court scenes, catered for the entire Chorus (by no means a small feat), whilst the icy blue chiffon of La Fée and the spirits, effectively communicated the dreamworld, and reinforced their ethereal allure.
A beguiling, entertaining and magical production, the passion and proficiency of all involved pervaded throughout, leaving audiences in awe of the enrapturing world of Cendrillion.
Image by Andrew Morris, courtesy of Edinburgh Studio Opera