A swirl of sequins, a spirit of self-belief and a story that was tailor-made for dancing. London Children’s Ballet elegantly transports theatregoers to the Roaring Twenties in Ella’s Big Chance: A Jazz-Age Cinderella.
Dance and music are powerful forms of escapism and expression that allow people of all ages to temporarily disconnect from the challenges of daily life. What better way to recognise, appreciate and celebrate this than to join a 50-strong cast of effervescent girls and boys (aged 9 to 15) at London’s Peacock Theatre for a fresh interpretation of a much-loved fairy tale?
This production brings the atmospheric pages of a charming book by British author and illustrator Shirley Hughes (1927–2022) to the stage for the very first time. Ella’s Big Chance: A Fairy Tale Retold, which was published in 2003 and won the Kate Greenaway Medal for illustration in a children’s book, is a jazz-age version of the classic Cinderella story. It revels in the fashion, liberation and dancing of the 1920s. The book features bright and bold artwork rendered in gouache colour and pen line. Images of assorted sizes depict stylish outfits, everyday magic, the transformative actions of an umbrella-carrying fairy godmother, a glamorous ballroom and a truly happy ending. Descriptive prose imbues personalities and plot twists with a vibrant energy fitting of the period. What’s more, the supplementary information on the final page notes that the ball scenes were inspired by the dance sequences in the Fred Astaire and Ginger Rogers films.
A familiar-yet-refreshed story that lends itself beautifully to dance. Original music played live by an orchestra. Sets and costumes based on an award-winning book’s illustrations. A buzz of supportive excitement and a feeling that magic is in the air. Unsurprisingly, dancers and spectators alike are having a ball at London Children’s Ballet’s latest offering.
“I am your Fairy Godmother”, she told Ella, briskly peeling off her gloves. “It’s my job to see that you go to the ball, so don’t let’s waste time.”
Ella’s Big Chance by Shirley Hughes
Founded by Lucille Briance in 1994 and now led by artistic director Ruth Brill, London Children’s Ballet (LCB) is a unique charity that aims to inspire children from all backgrounds and introduce new audiences to ballet. Each year, following competitive open auditions, up to 50 young dancers are invited to unite as a company and perform in a professionally produced full-length ballet at a West End theatre. An additional 50 or so dancers are selected for LCB’s touring companies, which take a specially adapted version of the stage production out into the community. Significantly, LCB does not discriminate on grounds of height, shape or income – children are chosen based on their ability and participation is free of charge.
As delighted audiences have come to expect from LCB, Ella’s Big Chance is an uplifting narrative ballet that gives every member of the cast their moment to shine. Ruth Brill’s scenario remains faithful to the book, but develops some of the ideas to create more roles – and provide more opportunities to dance! Kristen McNally (principal character artist of the Royal Ballet and this year’s LCB choreographer) has created character-led movement that showcases the young dancers’ strengths, seamlessly conveys the story and effectively engages a family audience. Classical ballet vocabulary is a consistent thread, but dynamic embellishments are woven throughout to incorporate the gliding, spinning, shimmying, swinging, toes-in-heels-out styles that brought 1920s dance floors to life.
The scenario begins outside the dress shop run by widowed Mr Cinders (14-year-old Corin Baylay-Bell) and his daughter Ella (15-year-old Gina Harris-Sullivan) with the help of a lively lad called Buttons (15-year-old Toby Gray) who opens the door for customers and cycles around the town delivering parcels. Bakers (13-year-old Daniil Dowling is joy personified as he claps his flour-covered hands), a postman, a milkman, a grocer, butchers and villagers all go about their business. Customers flock to the dress shop to be kitted out in the latest trends – they line up to be measured and dressed, strike poses while admiring their reflections and then gallivant in their glad rags. Ella and Buttons laugh together. The family cat (12-year-old Theana Amolo) is never far away.
Of course, everything changes when Mr Cinders remarries. Madame Renée (14-year-old Georgia McBride) and her daughters, Pearl (15-year-old Ailsa Levy) and Ruby (14-year-old Mbayang Ndiaye), make Ella work such long hours at her sewing machine that she is permanently exhausted. Loyal Buttons tries to cheer her up by dancing with the mannequins (standing still is for dummies – these dolls cartwheel and never miss a step) or cooking her bacon and eggs. When the Duchess (14-year-old Chloe Mackintosh) invites everyone to a ball being held in honour of her son, the Duke of Arc, Ella is forced to work night and day to keep up with the demand for new frocks and suits.
On the evening of the ball, Ella is left behind with only Buttons and the cat for company. Fortunately, the down-to-earth Fairy Godmother (14-year-old Caelin Stewart) waves her magic umbrella to get Ella to the ball in style. Dancing with the Duke (15-year-old Jude Illing, who will join English National Ballet School in September) gives Ella a confidence boost before she has to give him the slip as the clock strikes midnight. She loses her glass slipper, the Duke tracks her down… then Ella realises that the magic was inside of her all the time and she can choose her own happily ever after.
The Fairy Godmother sketched a shape in the air with her umbrella and at once Ella was dressed in a ball dress as light as a silver cobweb, glittering all over with crystal beads, which fitted her perfectly. She wore a tiny silk hat to hide her hair in case she was recognised, silver stockings and – tap! tap! – a pair of little glass slippers on her feet.
Ella’s Big Chance by Shirley Hughes
Gina Harris-Sullivan is endearing as skilled, resourceful, independent-minded Ella. Her graceful arms, lovely arabesque line and expressive face ensure we are invested in Ella’s journey. She is well-matched with Toby Gray, who is splendid as adoring, and adorable, Buttons. A real spinning top, he not only makes an impressive entrance when he bounds centre stage to execute à la seconde turns, but also makes pirouetting while holding a frying pan look effortless.
The 80-minute ballets produced by LCB are West End worthy shows, with top-notch creatives involved. Ian Stephens (whose credits include Pinocchio for Northern Ballet) has composed a jazz-inflected score for Ella’s Big Chance that is danceable and easy on the ear. The music is played live, under the baton of Philip Hesketh (musical director of LCB since 1998). Attractive sets and colourful costumes, designed by Carrie-Ann Stein (who previously worked on the 2024 revival of The Secret Garden), emulate the attention to detail in the book.
Each and every cast member clearly relishes their time on the stage making the magic happen. There is no such thing as a small role and being part of LCB is a big chance for any pint-sized performer. The 2026 ballet will be a revival of Jane Eyre. See you there!
They were too happy to notice a lady walking alone further up the street, carrying a fancy umbrella. She paused to watch them go. Then, smiling a secret smile, she walked on.
Ella’s Big Chance by Shirley Hughes
*Production photography by Photography by ASH.
London Children’s Ballet’s Ella’s Big Chance: A Jazz-Age Cinderella continues at Peacock Theatre on Sunday 6 July 2025 (performances at 12.30pm and 4.30pm).
Running time: Approximately 1 hour 40 minutes, including an interval.
To learn more about dancing with, and supporting, London Children’s Ballet visit the LCB website and follow @lcbballet on Instagram and @lcblondon on X (formerly Twitter).
This review is also featured on Gramilano.
Georgina Butler is an editor, a dance writer and a ballet teacher.
