SF Ballet Production Staff on Cinderella

Members of the Production Staff discuss the demands of their positions as they “create the magic” of a fairy tale on stage. Jane Green, Production Stage Manager, describes the complexity of running this show; Kate Share, Manager of Wardrobe, Wig, Make-up, and Costume Construction, talks about the elaborate costumes and some of the difficulties the dancers encounter in accommodating them; Ken Ryan, Master of Properties, reveals the “secrets” behind the golden slipper so important to this story.

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Header Image: Sasha de Sola in Christopher Wheeldon’s Cinderella // © Erik Tomasson

Designing Cinderella’s Ball Gown

Designing and constructing costumes for dancers is a unique and challenging art. For Cinderella© Scenic and Costume Designer Julian Crouch, creating Cinderella’s ball gown was an exercise in restraint. “It has to move beautifully, and usually the way to do that is to take things away rather than add things,” says Crouch. “That was a new thing for me. . . . I was supported so well in that process, particularly by [Costume Supervisor] Oliver Haller. He taught me the fabric that would move properly on the human body.” Flexibility and durability are also extremely important for such a costume, so elasticated panels were added around the bodice to allow for a full range of movement by each of the ballerinas who will dance the role of Cinderella

Julian Crouch's costume sketch for Cinderella's ball gown // © Julian Crouch
Julian Crouch’s costume sketch for Cinderella’s ball gown // © Julian Crouch
Yuan Yuan Tan in Wheeldon's Cinderella©. (© Erik Tomasson)
Yuan Yuan Tan in Wheeldon’s Cinderella©.
(© Erik Tomasson)


Cinderella’s “feathered” gold ball gown was actually created by photoshopping feather patterns onto a sheer fabric. “If I would have made the dress with real feathers like on [Crouch’s original] drawing, then you would have been able to wear it once and all those feathers would have been broken,” says Haller. “And now we have this beautiful dress with photographically printed feathers that looks—from a distance, it really looks like real feathers.”

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Header image: Yuan Yuan Tan in Wheeldon’s Cinderella© // © Erik Tomasson

Cinderella© by Christopher Wheeldon