Saint Louis Ballet's Cinderella Enchants Touhill

The Saint Louis Ballet filled the Touhill Performing Arts Center for opening night of Sergei Prokofiev's Cinderella, and the magic never let up from the first note.

While some stylistic elements will feel familiar to those whose only exposure to the fairy tale comes by way of a certain trademarked mouse, this production draws from the richer traditions of the story. Among the delights are the Four Season Fairies who guide Cinderella on her journey to the castle, as well as the court's earlier attempts to locate the mysterious owner of the lost slipper. These additions serve the audience well, providing expanded opportunities to appreciate the technical precision and expressive range this company consistently delivers.

Although the entire ensemble performed at a professional level, several moments of artistry proved especially memorable. This evening's Cinderella, Lori Wilson, portrayed the title character with the warmth and optimism the role demands. More impressively, she demonstrated exceptional command of classical technique, particularly in her on-pointe bourrées and rapid chaînés. Both sequences were executed with such control and assurance that one could be forgiven for wondering whether gravity had briefly taken the night off.

Another standout performance came from Colin Ellis as the Court Jester. His physical presence commands attention the moment he steps onstage, yet his movements remain light, precise, and effortlessly fluid. He also leads members of the company into the audience during intermission as they "hunt" for the slipper's owner, playfully approaching patrons to test whether they might be the prince's chosen match—an engaging bit of theatricality that keeps the story alive beyond the curtain.

Equally deserving of recognition are Emily Fugett and Lauren Christensen as stepsisters Drizella and Anastasia. It takes genuine skill to appear clumsy while maintaining disciplined technique, and both performers navigated that balance beautifully—even while maneuvering in oversized fuzzy slippers. Translating ballet's inherent grace into broad physical comedy is no small task, yet they seized every opportunity for laughter, often stealing focus even when positioned at the margins of the scene.

The set design complements the performance with equal care. Rather than serving as mere backdrop, the scenery creates a sense of depth and scale that frames the dancers effectively and enhances the storybook atmosphere. The younger students portraying the mice—and the older students who assume their forms after the magical transformation—are reliable crowd-pleasers, drawing smiles each time they scamper onto the stage.

Gen Horiuchi's production is, in sum, a graceful and thoroughly enchanting realization of a beloved fairy tale. Cinderella continues at the Touhill Performing Arts Center in St. Louis through April 26—and it is well worth making the trip before the clock strikes midnight.