The happily ever after conclusion is a concept that we have been candy coated with since the late 30s. Audiences root for a young protagonist bound by their low social standing in the hopes of love conquering all. Fairytales are often our introduction to the notion of storytelling in the west, finding that we’re brought up with a canon of tales we can all recite in our own ways but are perhaps glazed with a sickly sweet Hollywood glitz and glamour thanks to filmic interpretations. balletLORENT however are not afraid to press on the tale of Snow White‘s darker themes, making for a riveting watch.
Convinced I’ll witness a quaint version of the iconic tale, my preconceived ideas are partially met. A wondrous world powered by a sense of joy resonates with the family orientated crowd. Caroline Reece and John Kendall‘s King and Queen stationed centre stage in Phil Eddolls quaint yet durable multi-storey palatial structure depict their nobility in a non threatening manner, their love for one another evident and complimented beautifully by the jubilant energy emitted by the eclectic ensemble.
What’s brilliant about this production is the incorporation of the younger members of the ensemble. It’s this supportive ethos throughout the show’s run that allows for the younger audience members to relate, and perhaps inspire them to train in ballet. For audience members who have never witnessed a ballet beforehand, this is a great show to introduce those new to the art form. The marriage of narrative, and choreography balances effortlessly. Carol Ann Duffy‘s haunting verse peppers the morning’s proceedings, a tongue in cheek omniprescent narration placing a creative spin on the original text.
Challenging my preconceptions of the fairy tale, BalletLORENT’s reimagining does well to depict the fractured relationship between Snow White and her mother after the death of the king. Dominated by the green eyed monster, Caroline Reece‘s regal turned bitter mother delivers a much needed edge, spearheading the production’s spiral into the dark and unknown. Natalie Trewinnard‘s Snow White exudes an authenticity that rids her of being labelled by her royal roots, giving the title role dimension compared to previous adaptations.
Liv Lorent‘s reimagining playfully grasps on to what we thought we knew about the tale, with components such as Gwen Berwick‘s witty yet insightful turn as the magic mirror to the infamous poisoned apple scene, and reinvigorates components keeping the audience on their toes. Murray Gold‘s illustrious musical composition drives the production’s heart. A vivid, haunting, all encompassing score that is the emotional voice of the duration of the performance. Snow White makes for a great family day out to the theatre, and is not at all afraid to touch on the themes of death, jealousy, betrayal and social standing. 4/5
Review written by Lucy Basaba.
Snow White was shown at Sadler’s Wells from Friday 25th until Saturday 26th March. For more information on balletLORENT, visit here…