Northern Ballet Cinderella Review
October 23, 2026 | Nottingham Theatre Royal – Nottingham, England
There’s a reason why people love classic fairytales and return to them again and again. They are familiar, comforting, and always have a happy ending.
Like a warm blanket, a show like Northern Ballet’s Cinderella is the perfect way to escape the cold, long nights of autumn and winter. The production, which originally premiered in 2009 with Milwaukee Ballet, will tour the United Kingdom during the holiday season into the new year, and it is sure to entertain audiences of all ages looking for a wholesome night of dance and storytelling.
Created by Michael Pink, Milwaukee Ballet’s longest serving Artistic Director, Cinderella hits all the traditional beats of the classic tale through whimsical choreography, while also featuring a few adaptations that add emotional depth to Cinderella’s journey.
Not only is this the first time Pink’s production has been performed in the United Kingdom, but it is also a special reunion for him and Northern Ballet, as Pink previously worked at the company in the 1990s as Associate Artistic Director. To bring the production across the Atlantic to his former company must make this international premiere even more special.
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Northern Ballet Cinderella Review
Watching Pink’s Cinderella feels like reading a classic storybook: it touches on themes of hope and love, sprinkles in a touch of magic, and champions the triumph of good over evil.
At the same time, it doesn’t take itself too seriously. This dynamic between sincerity and comedy is key, and it is best represented by Cinderella on one side and the stepsisters on the other. These characters are the stars of this production.
Cinderella is of course sweet and demure, but she is also resilient in her love for her family and hope for a better life.
Saeka Shirai’s portrayal is delicate, joyful, and endearing.
It is easy to cheer her on as she stands against the stepmother and stepsisters while showing devotion to the people she loves.
While Cinderella carries the emotional depth, the stepsisters bring a comedic chaos that makes the production lighthearted and approachable.
Yu Wakizuka and Andrew Tomlinson as Lucretia and Prunella are excellent. They stand out in their bright, garish pink and green costumes, and their commitment to the ridiculous choreography and slapstick comedy brings an added levity.
Their shenanigans contrast Cinderella’s genuine and kind nature, but the blend of these together gives the production its heartwarming feel.
The ballet’s design is whimsical, providing a backdrop that suits the storybook aesthetic of the production.
Cinderella’s home looks like a cottage plucked out of an illustration, built around two Tudor style ‘beams’ that double as trees in other scenes. In Act II, the ballroom is framed with tall lanterns that stand at a tilted angle.
While it is simple, there is a handmade, cartoonish quality to these set pieces that makes the production feel approachable and comforting.
Alongside Cinderella and the stepsisters is a range of other characters, including the stepmother, Cinderella’s mother (in spirit) and father, and Jack, a servant and friend of Cinderella.
Jack is a unique addition to the story that I have not seen in other Cinderella productions. Not just Cinderella’s ally, he is also her guardian angel and a conduit between Cinderella and her mother’s spirit. Watching them dance together, I admittedly thought Jack may be a new love interest and a potential rival to the Prince before I read the synopsis.
Although his presence diminishes the tragedy of Cinderella’s isolation, their interactions are so charming and playful, it is hard to be disgruntled by this narrative edit.
Another character in this production who is not always featured in Cinderella retellings is Cinderella’s father, who I found frustrating in this production. His inability to stand up to the stepmother’s cruel treatment of Cinderella is disappointing, and he does little more than watch his daughter sympathetically from the sidelines.
You could argue that his inaction emphasises Cinderella’s quiet strength and resolve, but I wish he could have redeemed himself in some small act of defiance. He could have insisted the Prince test the slipper on Cinderella, rather than asking Jack to speak to the Prince. It’s a small thing to notice, but to me, by the end of the ballet he was as nearly as much of a villain as the stepmother.
The rest of the company supports the main cast of characters, bringing more vibrancy to each scene.
The visits from the dressmaker and dance instructors at Cinderella’s cottage in Act I were amusing moments that highlighted the stepsisters’ ridiculous behaviour, and the Garden scene featured exciting excerpts from the Spirits that crafted Cinderella’s look for the ball.
One of my favourite scenes was the waltz in Act II, when the ball is in full swing and the dancers flow between two sections of the stage, divided by the row of tilted lanterns. The main characters are interspersed among the company as they all move on and off the stage. There is always something to watch, whether it’s the sweeping waltz of the dancers, Cinderella and the Prince in love, or the stepsisters’ uncouth behaviour.
What makes Cinderella shine, however, are the main characters who drive the story, rather than any additional vignettes or variations. Shirai as Cinderella radiates in every scene, whether she is dancing by herself or with others, particularly with Jack and the Prince.
Pink’s choreography does a great job in conveying emotion, particularly the joy between these characters and the love between Cinderella and the Prince (Jonathan Hanks).
Although the movement is rooted in classical shapes, it is not entirely traditional. At the ball, their pas de deux is grand but soft at the same time, and the couple dance with so much joy, their love feels real.
The couple floats together, from lift to lift, with Cinderella gliding over the stage with the Prince’s support, seemingly weightless. The choreography looks like the feeling of falling in love.
These are the strongest moments of the production and reinforce the heartwarming happy ending we are all looking for in a fairytale like Cinderella.
With likeable characters and engaging choreography, Cinderella is a heartwarming take on the classic tale. It looks and feels like a storybook, making it easy to find comfort in its familiar setting and get swept away for a night of joy, laughter, and love.
Featured Photo of Northern Ballet‘s Saeka Shirai and Artists in Michael Pink’s Cinderella. Photo by Colleen Mair.
