Cinderella Games
Reviewed by Estela Avalos
Dance Camera West Festival
Through Jan. 12
This review is part of the Z. Clark Branson/Stage Raw/Grow@TheWallis Mentorship Program for Young Journalists
Cinderella Games, Narrative Short, Jessica Wright and Morgann Runacre-Temple, Great Britain
The English National Ballet’s Cinderella Games is an evolution of the classic fairy tale Cinderella. Directed and choreographed by Jessica Wright and Morgann Runacre-Temple, the film is an imaginative, thoughtful piece with a satirical quality.
Many people of diverse backgrounds anxiously wait to enter a contest that awards a prize to “live happily ever after.” Contestants must compete with each other in games that put agility, strength and unwavering pluck to test. Everyone is on their own, fighting and hungry for the same prize. The old and the unfit lose all hope of victory from the beginning, as do those who wait patiently though nervously in line. Losers are given little time to despair then quickly assimilated into an assembly line. But one hopeful (Chihiro Kawasaki) exudes utter confidence and imagination.
Kawasaki climbs all the ranks and outshines all. She symbolizes a feminine quality, dancing with a red sash, exuding the energy of a matador, determined to bring the game to surrender. She climbs a human pyramid to grab the long-awaited prize: a golden slipper. Her prize (which disappoints all around her) is a mere piece of paper that reads “happily ever after.” All those in prison jumpsuits having seen the “prize” run off, escaping into the afternoon light. The winner ultimately leaves behind all she’s fought for: the golden shoe and the written contract. She joyfully joins the others.
Visually, Wright and Runacre-Temple pay homage to early films. In one stunning scene, dancers are paired in theater boxes; one dancer is frantic looking for clues, tearing out velvet curtains. Another impressive scene recalls Chaplin’s Modern Times, with dancers in an assembly line working to aid the final winner of the competition. Those that strike out lose their individuality and their own chance to gain anything from the game themselves. Yet, they seem content and hopeful that someone may win something after all. All frantically move their arms as if they now are the arms of a clock. In the film’s scene, “Beat The Clock!”, all are rushing in a march against multiple mechanical clocks that are central to the competition.
The choreography is cohesive and thematic. People move like clockwork, with every limb flung in urgency to beat the clock. Costume design by Susan Kulkarni pays particular attention to those who strike out of the competition with identical yellow prison suits. Bobbie Cousins’s scenic design is bold and translates themes of social justice. His attention to detail is admirable, as most shots have a striking geometric shape to the eye. Props are all beautiful and comment on present tirades for one special item in a game. Cinematography by Matthias Pilz is brilliant, contrasting between joyful communal support and the dark scenes of the competition.
DANCE CAMERA WEST FESTIVAL at REDCAT, 631 W. Second St., Downtown; and AUTOMATA, 504 Chung King Ct., Chinatown; Thurs.-Sun., screening times vary; through Jan. 12th. Festival Schedule here. Running time: 6:29
