The hall – which with 2,000 seats is much smaller than the cavernous Hummingbird at 3,200 – also means the ballet gives more performances over a longer season, from August to June.

“That’s unusual for professional dancers in North America to have that long a season, that they’re paid,” says Garland. “It’s good for them, it’s good for their conditioning, it’s good for their general quality of life.”

Garland has an eye on boosting the ballet’s profile in the U.S. About 2 per cent of the ballet’s audience is from the U.S. but Garland says she’s “very interested in increasing it.”

“We’re going to run a campaign for our fall season that will run in New York State as well as here,” says Garland.

Based on the colorful costumes alone, I just switched my June mixed season ticket to double up on Alice! I suspect seats will be gobbled up quickly and the National may even add a date or 2 or 3 or…..?

I agree with Kate, the National may be a little stretched here.

The final disappointment is the ballet’s bourgeois, un-spectacular resolution, in which Cinderella and her prince settle down to a domestic life by the hearth. This is a fairy-tale after all, a story about the triumph of true goodness over cruelty and neglect. But in the end Kudelka gives his heroine only an attentive husband (with his shirt-sleeves rolled up) and her own house to clean.

James Kudelka manages something fairly remarkable in his version of “Cinderella,” which American Ballet Theater performed on Tuesday in the first of a seven-performance run at the Metropolitan Opera House. He succeeds in creating a fairy-tale ballet entirely devoid of charm, a “Cinderella” that is for neither children nor adults and that somehow misses nearly every theatrical moment in the familiar story.

Kudelka’s Cinderella Extreme Makeover!

Dance Maestro James Kudelka almost choreographed the impossiblecamouflaging a Prokofiev musical score far too sardonic for a fairy tale ballet through innovative steps, stunning costumes, eye-opening lighting, and a down to earth set. This production of Cinderella was choreographed with wow and hearty guffaws galore! The ballet still cries out to be scored anew but this version is more than acceptable. This is a Cinderella that will tour Canadaand maybe just maybe the world!

Mr. K’s Creative Spirit must have been soaring during the ballet making process as his Muse magically transformed a previously clichéd Cinderella upside down and inside out! Goodbye henpecked hubby; Hello (flash!) Photo Journalist. Goodbye carriage; Look out for a pumpkin UFO descending from the heavens to whisk Cinderella to the ball! Goodbye horsy; See our prince travel ‘round the world via plane and speedboat searching for the seraph whose tootsies will slip into that glittering glass slipper! The background lighting simulating whooshing cerulean skies was absolutely breathtaking! Goodbye golden timekeepers; Hello Dancing Pumpkin Heads! Adios dusty old costumes; Go starry-eyed over jazzy art deco inspired duds! Ever present throughout the ballet is James Kudelka paying homage to Ralph Kramden, Archie Bunker, and Martin Crane in the rather rustic form of Cinderella’s antique chair. Despite the well preserved chair and delicious preserves from Cinderella’s garden, this Cinderella IS modernized. One trip to this Kudelkaized Cindertale and you’ll mothball your memories of Ben Stevenson’s and Sir Frederick Ashton’s antique creations right back into the fabled age of once upon a time—where they belong!

The National Ballet of Canada had been without its own Cinderella since 1973 when a fire destroyed most of the costumes. That version, choreographed by then Artistic Director Celia Franca, received mixed reviews in only 13 performances. From those ashes and cobwebbed, dusty history James Kudelka has restored Cinderella to modern times without sacrificing any of its fabled romantic past. The Keno twin brothers from the antique show Find! would be smiling and so will the National’s cash registers: Ka-Ching!

The true genius of James Kudelka is his ability to use every member of his company (from senior character actors to corps de ballet dancers to soloists to principals) and make them ALL shine! Victoria Bertram played the part of a bathtub gin swilling shnockered step mother to such pickled perfection, I was genuinely worried she might be pulled over for drinking and driving home after her spirited show stopping Gloria Swanson/Norma Desmond like performance! NBoC pointe shoe mistress Lorna Geddes glowed as she magically poofed from the cinders of the fireplace to save Cinderella from her stepsister slavery and thus the Prince from his slavery to the upper crust of hoity-toityville. Veteran character actor Hazaros Surmeyan played the part of a celeb photo journalist with too much integrity to be a Paparazzi picture stealer but not too much integrity not to steal a few scenes! Despite his best efforts, he never did get a snapshot of Prince Charming with his Cinderella. It’s impossible not to LOL at out-of-stepsisters Stephanie Hutchison and Lise-Marie Jourdain going totally gaga as they throw themselves head-over-heels in lust at the handsome Prince Charming (Patrick Lavoie). As for Heather Ogden’s performance as Cinderella, she danced barefoot, she danced with one pointe show, she danced with two pointe shoes, she danced her socks and pointe shoes off!

Yes, this is a brand new 150% improved Cinderella! She can cook, she can garden, she can keep house better than Martha Stewart, and of course, she can DANCE!

I played hooky from work to see the Thursday matinée performance, and needless to say, I along with the rest of the audience gave this production a standing ‘O’ leaving with a smile a mile wide! It was that good! Now, if only Kudelka could raise the funds to rewrite the score? Perhaps, Cinderella will be scored anew with a gelling of jazz á la Michel Legrand with classical music. One role I would like to see resurrected was that of the court jester, which would provide Philip Lau and Daisuke Ohno a chance to show off their high flying ballet moves. Next go around; don’t be surprised if Cinderella’s out-of-step-sisters also get a Swan like makeover including botox injections and leg wax! Although the lighting kept everyone’s eyes glued to the action on stage, I would love to see Act 2 end by spotlighting the Swarovski glass slipper in the middle of the stage.

This was a Formula One paced Cinderella with few opportunities for needless interruptions by applause. I always thought it best to show appreciation at the end of an act. The ending was perfect, finding heaven in the comfort of Cinderella’s garden, Prince Charming rests his head in the lap of Cinderella. No doubt, there would be a very long line up to spend eternity in wedlock with the lovely Heather Ogden. Once Kudelka and his dancers work out the kinks with more opportunities to dance this Jazzed up Cinderella, it will get even better! If I haven’t already made myself 150% clear, I highly recommend you step out of once upon a time and see this modern down-to-earth Cinderella!

Dancers: 18/20. Choreography: 18/20. Ballet Magic: 18/20. Costumes, Sets & Lighting: 19/20. Story: 8/10. Music: 7/10. Rating: 88/100.

“Such is the case among the devoted followers of principal dancers Bridgett Zehr and Zdenek Konvalina, who have quit the National Ballet of Canada to take equivalent positions in London with English National Ballet.

“Mr. Konvalina and Ms. Zehr will continue to perform with the National Ballet throughout the 2011/12 season and will join English National Ballet as Principal Dancers.”