‘Cinderella’ Provides a Contrast in Matchmaking

It’s sometimes hard to remember that one of the secrets of a great relationship is good casting, but if you saw the last principal debuts in the National Ballet of Cuba’s “Cinderella” at the Orange County Performing Arts Center over the weekend, the point would be well made.

Friday night’s Cinderella and her prince, Viengsay Valdes and Reyneris Reyes, were concentrating on their technique but not so much each other. Whereas Anissa Curbelo and Jaime Roque on Saturday afternoon were as excited about each other as they were about their expertly tossed-off pirouettes.

Curbelo had a spirited and speedy attack without sacrificing clarity in the fiendishly difficult balances and beats she had to do. Roque partnered smoothly, showing off a strong line in solos, amid flashes of contained recklessness.

Much less commanding were Valdes and Reyes. Valdes began beautifully, displaying an exquisitely expressive port de bras, as feathery and luxuriant as silk. But her face eventually telegraphed each technical feat; and although her execution was often impressive--effortless turns, balances with beats--her steps were not yet knitted into a complete performance. Granted, she was working uphill: In the slipper scene, Reyes seemed as excited to locate his lost love as he might have been about finding a mislaid hat. No amount of pretty good pirouettes and circles of leaps will make an audience forgive a prince who ignores his recently discovered reason for living.

The other relationship key to young Cinderella in this version is the one with her Fairy Godmother, who not only outfits the heroine but shows her how to dance into the ball and then dances with her. Looking like a modest protegee, Valdes tentatively followed in the footsteps of the more self-assured Laura Hormigon, bringing to mind a mentor-student bond. With her prince somewhat less than ardent, you couldn’t help thinking Cinderella would need her more vibrant Fairy Godmother again down the line.

Curbelo’s Cinderella held her own and mostly outshone Yanet Acuna as the Fairy. Dancing beside each other or in succession, they seemed more like sisters, but with Curbelo’s arsenal of charm and proficiency, there was no doubt that Cinderella was now a self-starter.