Antoinette Sibley in Sir Frederick Ashton's Cinderella. YouTube.com

#TBT: Antoinette Sibley in "Cinderella" (1969)

With its fairytale magic and ludicrous stepsisters, Sir Frederick Ashton's Cinderella is full of whimsy and charm. The choreography is also playfully challenging with quirky, intricate phrasing that illuminates Prokofiev's score. Antoinette Sibley, a former principal of The Royal Ballet, revels in the challenges as the titular Cinderella. A master of speed and staccato, Sibley is a frothy delight in her Act II variation in this clip from 1969.



Sibley takes the floor in a glittering white tutu, the belle of the Prince's ball. She showcases her footwork with precise petite changements at 0:25 and delicate walks on pointe at 0:58. When the tempo accelerates, Sibley moves with brilliant speed, her feet just skimming the floor. Ending the variation with dazzling turns en manège (two times around the stage!), it's a wonder she's not dizzy as she steps to curtsy with a beaming smile. Happy #ThrowbackThursday!


Related Articles Around the Web

Latest Posts


Margo Moritz, Courtesy Alonzo King LINES Ballet

How Adult Students Can Prep for a Safe Return to the Studio

After a year (or more) of virtual classes, it's finally time to unplug and head back to the studio.

Exciting? Absolutely. A little scary? Definitely.

Keep reading SHOW LESS
Boston Ballet soloist Chisako Oga. Jayme Thornton for Pointe

Join Us for an Exclusive Conversation With Boston Ballet's Chisako Oga on June 29!

Chisako Oga has already experienced so much in her short career. In one year, she went from being a San Francisco Ballet apprentice to a principal dancer at Cincinnati Ballet. Now, she's spreading her wings at Boston Ballet, where she's currently a soloist. In our May/June digital cover story, Oga talks about handling high-stakes pressure, from international ballet competitions to leading roles, as well as career disappointments. Through it all, she's managed to stay laser-focused on her goals while maintaining a healthy attitude and work–life balance. "The pandemic put things in perspective," she says. "Dancing is my passion. I want to do it as long as I can, but it's only one portion of my life."

Now you can have a chance to hear more about Oga's training and career path, ask for her advice, and much more in our exclusive virtual conversation. Click here to register for free with your questions. Then join us for a Zoom Q&A with Oga on Tuesday, June 29, at 4 pm EDT!

Gavin Larsen in Balanchine's Duo Concertant at Oregon Ballet Theatre. Blaine Covert, Courtesy University Press of Florida

"Being a Ballerina: The Power and Perfection of a Dancing Life" Gives a Vivid Portrayal of the Working Dancer

Before reading her excellent memoir, Being a Ballerina: The Power and Perfection of a Dancing Life (University Press of Florida, $26.95), I'd never heard of Gavin Larsen. She isn't a famous superstar ballerina with a first-tier company promising revelations of juicy celebrity gossip and salacious liaisons. She has no rags-to-riches history, no heartbreaking backstory of overcoming great odds. She was, in fact, a hard-working, successful, very skilled professional ballerina for 18 years, retiring in 2010 as principal of Oregon Ballet Theatre, with previous stints including Pacific Northwest Ballet, The Suzanne Farrell Ballet and Alberta Ballet.

Keep reading SHOW LESS

Editors' Picks