LONDON (Reuters) – The stage at London’s Royal Albert Hall has been transformed into an enchanted forest, populated by gnomes, woodland creatures – and over 90 ballet dancers.
After a forced four-year break due to the COVID pandemic, the ballerinas of the English National Ballet are back for a spectacular run of “Cinderella,” one of the company’s biggest shows.
Ticket sales for this year’s “Cinderella” are up 20% on 2019, according to a spokesperson. The audience of about 4,000 surround the large circular performance space, giving the production an immersive feel.
“I think people really need art in their life,” says 28-year old U.S.-born Precious Adams, who is making her debut in the classic rags-to-riches title role.
There is a buzz of excitement back stage as the dancers limber up ahead of the show at the Royal Albert Hall, a distinctive red-brick circular building with a domed roof in London’s Kensington district. Dancing there is a magical experience for Adams, given the venue’s 152-year history of hosting momentous cultural events, she said.
Like most of those who earn a living from theatre, Adams was put on furlough during COVID and feared she may never dance in front of an audience again.
“It just feels really special to be on the other side of it and to finally be living this out,” Adams said.
(Reporting by Sarah Young, Editing by Rosalba O’Brien)
