Choreographer George Williamson talks family adaptation of ‘Cinderella’: “I’d love to see more work that treats young audiences with the same care, intelligence, and respect as any other audience”

Following its inaugural London run, the production gets ready to bring younger viewers across the country their first ballet experience, delivering an abridged, kid-friendly adaptation of the revered classic. Guillermo Nazara chats with the show’s lead creative to learn more about its development and what makes the right fit for everyone in the family.

How does it feel to bring one of Prokofiev’s greatest classics to such a young audience?

I love the score – it’s so beautiful and expressive, but it is also quite dark in places too. I chose the Cleveland Orchestra recording conducted by Ashkenazy. It feels very energetic and fresh to me. There’s a rhythm to it that I haven’t found elsewhere, which I think springs us through the score more and works for the younger audience. 

How challenging is it to adapt a classical work into a version suitable for children?

For me, it was about making the story clear and meaningful, so every moment supports the narrative. With a shorter length and children’s attention spans, nothing can be there just for its own sake.

A key part of this was defining our Cinderella, or Ella. We wanted her to have more agency, with the magic coming from her connection to nature rather than simply happening to her. At first, she is free and happy outdoors, but as her world becomes more confined, that connection is taken away.

When nature returns, it helps her reconnect with who she truly is, so her transformation feels as though it comes from within, making the story clearer and more engaging for younger audiences.

The show’s primary goal is to introduce children to ballet. Do you think there is a shortage of initiatives like this?

I think performances that families can experience together is so valuable. It isn’t just targeted at ages 3+, it’s genuinely open to all ages to enjoy, which makes it a shared experience rather than something divided by age group.

And yes, I do think there could be more of it. It’s one of the most rewarding things for me as a maker, because it allows me to reconnect with a sense of play and curiosity. I’d love to see more work that treats young audiences with the same care, intelligence, and respect as any other audience.

How would you describe the current situation regarding artistic education and its appreciation?

There has been a real decline in investment in the arts in education, so fewer young people are being exposed to creative subjects. At the same time, children are growing up in a more screen-based world, which makes live performance and shared storytelling more important than ever.

That is why this introduction to ballet matters. This ballet has been a real investment by ENB, and the sold-out London shows prove that there is an appetite for it. If the work is open, engaging, and high quality, audiences will respond, whatever their age or background.

Does the target audience influence the style of your choreography? If so, how?

It definitely pushes me to be more honest and efficient. I’m always trying to make things as clear as possible, focusing on really instinctive human moments and how those can be expressed through movement.

It’s also given me the freedom to lean into comedy in a way I might not have otherwise. I think humour is such an important part of the world and maybe something I could embrace across my work as a whole. 

This production is performed by English National Ballet School students. Does your approach differ compared to working with a professional company?

I’ve approached this in much the same way as I would with a professional company, as it’s important for the dancers to experience that process. It’s a complex show, with multiple roles, live set changes and puppetry, so they carry a lot of responsibility in bringing it all together.

They’re incredibly talented, but still quite young and less experienced, so I’ve encouraged them to meet me as equals, share ideas, communicate openly, and take real ownership of the work, which they’ve done brilliantly.

At times they need a bit more support, particularly with confidence in the acting, which is completely natural. That said, they’ve really stepped up to the challenge.

Are there any emerging talents you would like to highlight?

They are all brilliant. I would happily recommend every single one of them, they’re such a talented group of artists.

What other creative challenges have you faced with this piece?

One of the main challenges has been that many of the dancers have been auditioning for jobs at the same time as we’ve been creating the work, so there’s been quite a lot of movement in terms of people coming in and out, which is quite unusual.

But in a way, it’s actually strengthened the process. Everyone had to be flexible, to share roles and ideas, and to really support each other.

Those auditions are of course important, I’ve been through that myself, so it’s just been about approaching it with understanding and finding a way to work around it together.

Are there any other highlights in the show you would like to flag?

The sets and costumes by Rachael Canning are so special and bring brilliant life and magic to the ballet. We also have a narrator, Kate Donnachie. She brings the story to life with so many brilliant character voices, which adds another layer to the whole experience.

Why should audiences come to see this production of Cinderella?

Because it really is for everyone. It’s joyful, funny, and moving, and it looks visually spectacular. The young cast are fantastic, and I really hope people come and experience what we’ve created together.

All pictures credit to ASH and Isabella Turolla.

My First Ballet: Cinderella is currently on tour across the UK. Tickets, locations, and dates are available on the following link.

By Guillermo Nazara