- $35–$45 for one G-Pass to Cinderella, presented by the Oregon Ballet Theatre (up to $80.05 value). Prices vary depending on showtime.
- Where: Keller Auditorium
- Seating: first-balcony side
- Door time: one hour before showtime
- Full offer value includes ticketing fees
- Click here to view the seating chart
- Thursday, March 5, at 7:30 p.m.
- Friday, March 6, at 7:30 p.m.
- Saturday, March 7, at 2 p.m. or 7:30 p.m.
How G-Pass Works: Your G-Pass will be ready to print 48 hours after the deal ends. Print the G-Pass and use it to enter the venue directly; you won’t need to redeem at will call. Due to security restrictions, G-Passes cannot be redeemed through the Groupon mobile app. Discount reflects the merchant’s current ticket prices - price may differ on day of event.
Basking in the acclaim for his masterpiece ballet Romeo and Juliet, Prokofiev was commissioned to produce a new romantic work: Cinderella. But then World War II arrived in Russia. While he set the fairy tale aside to focus on more nationalistic works, Prokofiev’s imagination began weaving a tapestry of pas-de-deux, waltzes, and mazurkas, all slightly inflected by the discord of the world around him.
The work finally debuted in Moscow just two months after the end of the war, signaling a newly restored ability to revel in the simple blossoming of love. With fairies and a secretly powerful beggar, Nikolai Volkov’s scenario adds a little extra magic to the tale of a servant girl who loses a slipper and the prince who finds it and momentarily confuses it for an avant-garde drinking glass.
The company uses Ben Stevenson’s 1970 choreography, which operates with a directness and simplicity that allows for plenty of comic pratfalls for the two wicked stepsisters and a capering court jester.
Oregon Ballet Theatre
Since debuting in 1989, the Oregon Ballet Theatre has built its reputation on two seemingly opposed elements: strict balletic classicism and newly commissioned works. Now the theatre enters a new era under artistic director Kevin Irving, whose background spans both classical and contemporary performances. As a dancer, Irving appeared with scores of companies, including the Alvin Ailey Training Ensemble and Elisa Monte Dance Company. In 1994, he retired from the stage to take a position as ballet master and head of the artistic department with Nacho Duato’s Compañia Nacional de Danza in Spain. Irving looks to take the Oregon Ballet Theatre to new heights, riffing off rave reviews from the Oregonian's Bob Hicks, who wrote that the theatre's Swan Lake is "a work of sumptuous geometric balances that echo the story's mirror-image theme."