CENERENTOLA -- CINDERELLA
Cenerentola |
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Staging
of the Teatro alla Scala |
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On the decennial of
his death, celebrated with a great Gala on his honour, Nureyev is always
present in Ballet's programming, to testify the deep tie the extraordinary
artist had with this Theatre as to devote to it a big part of his classics'
lectures. On this season comes back on stage Cenerentola between
the end of March and April 2006. The ballet, born in
1986, the second-last among Nureyev's great re-readings, and presented for
the first and only time at LaScala in the season 1998-99, Cenerentola
will bring again on stage the oneiric and Hollywood vision which marks out
this version: the Cenerentola's waking dream is the world of thirties's
cinema, the conflicts among the aspiring actresses, the Producer instead
of the Fairy Godmother, and the Male Star instead of the Blue Prince (in
some performances on interpretation of the étoile Massimo Murru and the 'guest'
Robert Tewsley), with a staging derived from cinema sets and sending-backs
to historic films as King Kong, and Chaplin's, Lubitsch's or Marx
brothers' ones. |
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Rudolf
Nureyev |
Music |
Sergej S. Prokof’ev |
Conductor |
David Coleman |
Sets |
Petrika Ionesco |
Costumes |
Hanae Mori |
ACT 1 -
Cinderella's house.
They have in fact managed
to get themselves two bit parts in a movie and are about to go on set for their
first take. All by herself, Cinderella goes through the precious lessons
received from the dancing-master. She puts on her father's suit and amuses
herself pretending to be Charlie Chaplin. The man whom she helped after his
accident reappears, and turns out to be a famous movie director. It was. he who
signed up her two step-sisters, and he is constantly on the lookout for new
talents. Charmed by Cinderella's gracefulness, he offers her the lead role in
his new film.
After showing her the
latest models from the spring, summer, fall and winter collections -which she
will be wearing for her debut -the director drives Cinderella to
With his studio
assistants, the director is busy shooting a variety of scenes. The first
features a comic escape from prison, the second a costume ballet, the third a
group of Indians engaged in sacrificing a young Tahitian to King Kong. The
director now wishes to turn his attention to the lead role in his film. But the
star has been incapacitated by Cinderella's two step-sisters and by her
step-mother, who attempt by every possible means to get themselves noticed.
Preceded by a swarm of
photographers, Cinderella now enters the set, like a true star. With great
expertise, she puts into practice all the tips she has learnt and, after a brief
pause, begins to act a scene with the leading actor. Within minutes they fall in
love. But suddenly the mechanical clock strikes twelve. Remembering the
director's warnings, Cinderella at first attempts to halt time, but then
precipitously abandons the set. In her haste to get away, she loses one of her
slippers.
ACT 3 - In search
of Cinderella.
Everyone is looking for the beautiful actress who has mysteriously vanished. The
leading actor scours the city's night life: a Spanish tavern, a Chinese opium
den, a Russian cabaret. But their searches produce no result: no foot belonging
to any of the women approached fits Cinderella's missing shoe. Having returned
to her wretched daily life, the girl again endures the tyranny of her
step-mother and step-sisters.
But the
movie star unexpectedly knocks on their door and, unsuccessfully, tries the lost
slipper on the feet of the two step-sisters and the step-mother. Then Cinderella
shows the actor the other slipper still in her possession. Without hesitation he
recognizes the mysterious woman he has been looking for. For the director this
is the ideal time to get the young actress to sign her first contract. With her
true love beside her , Cinderella enjoys a m moment of bliss that will be
captured on film for all eternity.