Review: Ballet Lorent’s Snow White, Sadler’s Wells

Ballet Lorent’s rustic reimagining dissects Snow White’s ‘Grimm’ heart, in Carol Ann Duffy’s majestic and spellbinding update of The Brothers Grimm for the poisonous beauty standards of the social media age.

Nestled in the buzz of the Olympic park lies the shiny new Sadler’s Wells East. This state-of-the-art theatre and cultural hub opened in January as the latest asset to the thriving East London arts scene. Here, a cerulean-drenched stage sets the cool tone of this revival production. The North East-based Ballet Lorent first staged their symphonic Snow White in 2015, and now use a blended cast of new and original dancers. Artistic director Liv Lorent states her mission to create “ambitious and inclusive” work, which is seen in same-sex pairings and the delightful inclusion of talented primary school pupils from their Young Cast Programme.

Though the timing of this revival coincides with the controversial live-action remake, there is nothing Disney about this ethereal interpretation of Snow White. Costume designers Libby El-Alfy and Nasir Mazhar choose an earthy palette, giving a linen freshness to the triumphant overture of the Queen’s pregnancy. Commedia Dell’Arte masks adorn headlamp wearing miners, who replace the dwarf septet. Phil Eddols’ gothic woodland set design enables forest friends to emerge seamlessly as Snow White seeks refuge from the jealous wrath of her benighted mother.

Caroline Reece embodies the Queen’s anguish, convulsing through an “ecstasy of guilt and remorse”. As “vanity coils round the Queen’s heart like bindweed”, Duffy’s poetic flair shines through in Lindsay Duncan’s velvety narration. The crux of this retelling tackles shifting beauty aesthetics, with the aging Queen turning to “scissors, surgery and facelifts” to remain “the fairest of them all”. She even ‘catfishes’ the young king (Toby Fitzgibbons) with an outdated portrait that he mistakes for her ingénue daughter.

Virginia Scudeletti’s Snow White is a consumerist who is tempted by the luxuries offered from her incognito mother, while sage advice is provided by Aisha Naamani’s morph suit clad Mirror. Her faceless figure ripples and shimmers through hard truths as she proffers insight without cliché.

A sumptuous score from Murray Gold sways through opera, folk and choral music in perfect tandem with the evocative choreography, and the chorus of children evoke much joy in the family-filled audience. Ballet Lorent clearly embrace young talent, even if the play could benefit from furthering the inclusion of their younger cast.

Though this countrified remake has a strong visual cohesion, the miners are reminiscent of Shakespeare’s Mechanicals and there is an overall air of A Midsummer Night’s Dream. Perhaps leaning further into a Gothic design would help define Snow White’s new identity. Its cautionary message does, however, hold true for a life lived “quite beautifully ever after – pretty much”.

Directed and Choreographed by: Liv Lorent MBE
Produced by: Ballet Lorent
Written by: Carol Ann Duffy DBE
Composed by: Murray Gold
Costume Design by: Libby El-Alfy and Nasir Mazhar
Set Design by: Phil Eddols
Lighting Design by: Malcolm Rippeth

Snow White plays at Sadler’s Wells East until Saturday 19 April.