London Children’s Ballet in Ella’s Big Chance: A Jazz Age Cinderella

Peacock Theatre, London
July 4, 2025

Attempting a new version of a ballet like Cinderella is tricky. It’s such a well-known story, and there are so many traditional productions. But with Ella’s Big Chance: A Jazz Age Cinderella, choreographer Kristen McNally and London Children’s Ballet pull it off very nicely indeed.

They’re helped by the beautiful storytelling of children’s author Shirley Hughes, on whose book the ballet is based. While Hughes does pretty much keep to the usual narrative, as her title suggests, she relocates the story to the Roaring Twenties, with the Cinders family running what is described as a dress shop, although they do menswear too. Although successful beforehand, when Mr. Cinders remarries, his new wife, Madame Renée takes things up several notches, meaning long hours and exhaustion for Ella, who does most of the sewing. Hughes also includes Buttons as a main character, and slips in an unexpected twist at the end.

That the familiar and very prescriptive Prokofiev is avoided is a plus too. In its place is composer Ian Stephens’ wonderfully period, jazz-infused new score, played live by an orchestra under the baton of long-time LCB music director Philip Hesketh. From the way it dovetails so perfectly with the story, it’s clear he worked closely with McNally and artistic director Ruth Brill.

And let’s not forget designer Carrie-Ann Stein’s costumes (all 130 of them) and set, largely inspired by Hughes’ own illustrations in her book. From the simple everyday wear of Act One, to the glittering, sequin-embellished flapper dresses for the girls and sharp suits for the men at the Act Two ball, actually more of a jazz party, she gets it spot on every time.

For all of that, Ella’s Big Chance: A Jazz Age Cinderella wouldn’t succeed without its dancers and McNally’s choreography that tells the story clearly. She very much makes the most of each dancer’s abilities in countless individual moments. The ensemble dances are delightful too. A dance of the mannequins is particularly inventive.

As Ella, 15-year-old Gina Harris-Sullivan was quite endearing. Independent but kind of nature, she has a lovely expressive face. The softness in her dancing reflected her character perfectly.

Toby Gray (also 15) was excellent as the effervescent Buttons, who opens the door for customers and cycles around the town delivering parcels. As loyal as can be, he’s Ella’s best friend, always there when she needs someone. His turns à la seconde, and later holding a frying pan (try it!) were excellent.

An ever-present other than at the ball is Ella’s confident, sociable cat, delightfully played by 12-year-old Theana Amolo, who got the feline mannerisms exactly right.

She may only be 14, but Georgia McBride (14) has already mastered the withering glare. Her Madame Renée was a lady you don’t argue with! But when it comes to acting, the honours were undoubtedly taken by Ailsa Levy (15) and Mbayang Ndiaye (14) as Pearl and Ruby, the two self-centred stepsisters. Ndiaye in particular has a wonderfully expressive face and eyes.

At the ball, Harris-Sullivan looked as happy as can be dancing with the Duke, played by Jude Illing (15), who at times reminded me of a young Prince Charles. Yes, really! Illing will join English National Ballet School in September.

The ball is also where we find a terrific bunch of boys as jazz musicians, led by the energetic, enthusiastic and clearly very talented Arthur Sullivan. And he’s still only aged 11, so hopefully we’ll be seeing much more of him in future LCB productions.

Among other lovely cameo moments are those from Daniil Dowling (13) as the local baker, whose grin is as wide as his face as he claps his flour-covered hands, and Illia Bonderenko (12) as the fleet-footed postman.

The rest of the fifty-strong cast do sterling work as the local grocer, florist, flower girls, villagers, customers who patronise the family shop and ball guests. It was so nice to see each and every one show a very clear idea of character.

Even though the slipper Ella lost at the ball fits just as it should when the Duke finally tracks her down, she has a bit of a surprise for him, turning him down in favour of lifelong friend, Buttons. In a couple of amusing further surprise, the Duke’s equerry finds himself snaffled by Pearl and Ruby, and Ella’s cat appears with a tabby friend and three kittens.

It was a super evening. Next year the magic that is London Children’s Ballet returns with a revival of Jane Eyre.