An enchanting reimagining that proves ballet can captivate every generation.
This was my children’s first experience of ballet, and what a way to begin! They were utterly captivated by this masterpiece, and honestly, so was I. balletLORENT’s Snow White, choreographed and directed by the immensely talented Liv Lorent, is an engrossing, visually arresting piece of dance theatre that works just as beautifully for adults as it does for young audiences. It’s expressive, intelligent and emotionally generous – proof that ballet can be both accessible and artistically rich.
The familiar fairy tale is thoughtfully reimagined by Scottish playwright and poet Dame Carol Ann Duffy. In this version, the dwarfs have become miners, and more strikingly, Snow White is the biological daughter of the Queen, shifting the emotional weight of the narrative. The focus on their fractured relationship gives the story a psychological depth rarely seen in traditional versions. balletLORENT, known for blending contemporary dance with strong narrative drive, lean into character and storytelling rather than classical convention – and it pays off splendidly.
This is not a tutu-and-tiara production rooted in strict classical vocabulary. Instead, it’s contemporary narrative ballet, told through fluid, grounded movement and expressive physical theatre. The age range within the cast is refreshing: an older Queen and King bring gravitas, while primary-aged children play woodland creatures, adding visual texture and innocence whilst keeping a wholly professional and atmospheric feel. The choreography is highly symbolic, with clear physical motifs shaping character development. My favourite element was the Mirror, personified by a dancer who eerily slunk from its frame in a metallic full-body suit. The controlled, sinuous movement quality was chilling and exquisite, embodying vanity as something seductive yet destructive – a hauntingly resonant message for an image- obsessed society.
Narratively, this is the most emotionally resonant version of Snow White I’ve seen. The transformation of a once-loving mother into something darker feels far more evocative when the bond is biological. I won’t spoil the ending, but as a mother of a young girl, I found its message regarding love and wealth quietly powerful compared with the Disney princes young children are exposed to.
The miners bring warmth and humour, particularly in a delightful montage sequence that uses rhythmic beats and character-driven choreography to show their camaraderie with each other and also with Snow White. The recorded narration by Sarah Parish weaves seamlessly through Murray Gold’s elegant score, guiding younger viewers without disrupting the musical flow. My five-year-old was transfixed from the opening tableau; my son took a little longer, but the miners’ first full ensemble dance, with percussive footwork and dramatic torch lighting, had him hooked from there on out. It is, however, a darker interpretation than Disney. The finale of Act One where the Queen prepares to eat what she believes is Snow White’s heart, is genuinely unsettling. I wouldn’t take children younger than five (as recommended), particularly given the near two-hour running time as well, but for those ready for it, this is a superb introduction to the expressive power of dance.
Murray Gold’s score is outstanding, folk-inflected rather than Tchaikovskian, with rich, rhythmic patterns and lyrical phrasing that supports the choreography beautifully. The miners’ opening dance, underscored by deep syncopated beats, was a highlight for my son. Lighting design makes evocative use of shadow and silhouette, and the sparse yet versatile set allows for layered staging without visual clutter.
Performance-wise, the standard was exceptional. Virginia Scudeletti’s Snow White was delicate yet emotionally nuanced: not simply sweet, but human and flawed. Caroline Reece’s Queen offered a compelling character arc, her movement quality shifting from poised lyricism to sharp, angular intensity as her descent unfolded. Gavin Coward, as both Head Miner and Huntsman, combined strong elevation and powerful jumps with genuine tenderness and was my son’s favourite character as he wielded a sword and fought off attackers with gusto. His pas de deux with Snow White’s unconscious body was deeply poetic, elegantly powerful moment, a masterclass in partnering and emotional restraint.
A special mention must go to the eight young performers from Richmond Academy. Their focus, musicality and spatial awareness were impressively professional, adding freshness and dynamic contrast to the corps. This is no doubt a moment they will cherish forever, but is also something they have worked exceptionally hard on – they are a real credit to both their families and their school.
What an utterly enchanting way to spend a Friday night. Rarely do you find a production that captivates a five-year-old girl, her mother and her gladiator and sport-obsessed seven-year-old brother in equal measure. Ballet may not always be the obvious family choice, but this proved that when storytelling, music and choreography align, it can be utterly magical. Bravo indeed!
Photography by The Twins.
