In American pop culture, Cinderella has become more than a pretty face. In the ballet world, especially, Cinderella soars beyond the sweet scullery maid who falls in love with a prince.
"The Ballet Tucson production of 'Cinderella,' set in a classical ballet world, will be lovely, but it is definitely not Walt Disney's world," said Jenna Johnson, who will be dancing the role at Ballet Tucson's performances Saturday and Sunday in Centennial Hall.
Johnson also talked about the Sergei Prokofiev score for "Cinderella," which Ballet Tucson is using. We love the happy ending, but first come all of the challenges.
"Actually, the story is full of death, loss and resentment. It is very dark and the music imparts that atmosphere - which is a sharp contrast to Cinderella's own personality," said Johnson.
"And then when the fairy godmother appears, the whole atmosphere lifts. Everything opens up into a magical garden."
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In her preparations to perform the role, Johnson has given some serious thought to the place of Cinderella in the psychology and mythology of American culture. She is especially taken by Cinderella's optimistic spirit.
In Johnson's view, the cinder girl certainly didn't feel helpless, sitting around waiting for her prince to come.
"Cinderella is so appealing because she never gives in. She is always able to overcome her situation," said Johnson. "She is never depressed, down or resentful.
"You have to remember the time in which she was living, too," the dancer continued. "She didn't have many options.
"But she always endures, no matter what happens. And she is always willing to help those around her. She is a survivor."
Historically, the tale of a Cinderella-like heroine is traced back to ninth-century China. It was the Brothers Grimm version, written in the early 1800s, that became the fairy tale's root in America.
For Johnson, this emphasis on the essence of character is essential. She isn't just performing the steps. She is becoming that girl sitting by the hearth, sweeping up the cinders, determined to meet life on her own terms.
"The acting part is what I enjoy the most," said Johnson. "That is where the true interpretation of the music is found.
"So I absolutely need to have the dance technique down before I can add the flavor on top. I can't be thinking about technique if I want to get the personality right."
This will be the second time Ballet Tucson has presented "Cinderella" with Johnson in the title role. Within the company, the list of contributors to the choreography keeps growing.
Cheiko Imada and Mark Schneider share the duties as co-choreographers - to which has been added additional staging by Amanda McKerrow, John Gardner and Mary Beth Cabana.
Dancing opposite Johnson is Stuart Lauer as The Prince. In the comic roles of the clumsy stepsisters are Daniel Precup and Daniel Salvador. The stepmother is danced by Deanna Doncsecz, with Megan Terry in the role of Fairy Godmother.
Joining in this fully professional production for several scenes is the ballet company's 75-strong children's company, whose participation is a tradition in all of Ballet Tucson's full-length fairy-tale ballets.
IF YOU GO
• What: the full-length ballet "Cinderella"
• Presented by: Ballet Tucson.
• When: 7:30 p.m. Saturday, 2 p.m. Sunday
• Where: Centennial Hall 1020 E. University Blvd., on the University of Arizona campus.
• Tickets: $31-$41 general admission, with discounts available.
• Reservations, information: 621-3341, www.uapresents.org or www.ballettucson.org
Chuck Graham has written about Tucson arts for more than 36 years. Read more of his articles at "Let the Show Begin," www.tucsonstage.com
