'Cinderella'

Jean-Christophe Maillot's "Cinderella," at the Segerstrom Center for the Arts in February, was filled with revelatory twists and delights, including dystopian sets and costumes. The story was told via its barefoot heroine (no glass slipper for her) as well as a shift in focus onto the fairy godmother character, who in this version was Cinderella's dead mother. A musical choreographer, Maillot is artistic director of Les Ballets de Monte-Carlo, which was making its West Coast debut with an international cast that displayed a crisply energetic style.
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( Allen J. Schaben / Los Angeles Times )

Jean-Christophe Maillot's "Cinderella," at the Segerstrom Center for the Arts in February, was filled with revelatory twists and delights, including dystopian sets and costumes. The story was told via its barefoot heroine (no glass slipper for her) as well as a shift in focus onto the fairy godmother character, who in this version was Cinderella's dead mother. A musical choreographer, Maillot is artistic director of Les Ballets de Monte-Carlo, which was making its West Coast debut with an international cast that displayed a crisply energetic style.

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2013 YEAR IN REVIEW
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