1993年，摩纳哥大公国汉诺威公主钦点让•克里斯托弗•马约担任舞团的掌门人。曾在图尔大剧院芭蕾舞团担任编舞及总监的马约来到了这个舞团，并为其创作了约30部芭蕾作品，其中不少已经成为世界大牌舞团的保留剧目。马约把夺目的舞衣、华丽的布景及舞者精湛舞技相配合，将经典编成一幕幕动人的舞剧。其非凡创作及成就备受赞誉，于2008年赢得被称为舞蹈界奥斯卡的国际芭蕾舞艺术节（Prix Benois de la Danse）编舞大奖。如今，舞团凭借马约的作品已经蜚声国际，代表作包括《成为一个明智的国家》《罗密欧与朱丽叶》《灰姑娘》《睡美人》《仲夏夜之梦》《换而言之》《浮士德》《天鹅湖》等。
Loyal to his reputation as a fairy tale paleoanthropologist, Jean-Christophe Maillot strips Cinderella of its sugar-coated layer and delivers a poignant meditation on the way in which people who disappear shape the future of those left behind. The theme of a Prince who marries a peasant girl (an idea responsible for the shattered dreams and hopes of entire generations) is not given a lead role here. The choreographer denies this idea the importance it is usually given, preferring to focus on the emotional cogs that drive this timeless tale forward.
Because in addition to a reflection on mourning, Cinderella is a funny, incisive take on a society crammed full of artifice, where the quest for pleasure strips its inhabitants of any sense of reality. Frenzied distraction rubs shoulders with idleness, and the palace`s Two Superintendents of Pleasure are on-hand to entertain a moribund court slowly suffocating from boredom. Yet again, Jean-Christophe Maillot gives these two key characters movements all of their own. Every step, every jump reflects the over-excitement, one-upmanship and thirst for happiness they seem to mindlessly promote.
In contrast to this, Cinderella is simplicity incarnate (a key concept that influenced Ernest Pignon-Ernest`s set design). She needs no accessories to render her beautiful, and even the famous glass slipper is replaced here with a bare foot glistening with delicate, ephemeral gold dust. Cinderella`s bare foot becomes a symbol of ballet. It symbolises not only the simplicity and starkness of this young girl, but also a part of the body without which dance would not exist. The foot is the pivot of choreographic art, its pillar, its momentum, its take-off and its survival.
Somewhere between Cinderella and the lying, cheating world she inhabits is the Prince, imprisoned in his palace, brooding as he waits for a more real existence. Having only ever known flattery and emotional repression, he is unaware of the real world. Everything slips between his fingers like sand, he has no memory to hold on to because he has never truly lived. A spectator of his own life, he is suspended between life and the void. His moments of desolation and dejection differ from those experienced by Cinderella, yet they too hint at a dream of a different life. The Fairy blindfolds him so that he may know love beyond a pretty face, and he is forced to leave his world to seek the one he loves. The young woman`s salvation does not lie in the social status her future husband can offer her: the Prince must abandon his palace and prostrate himself `at the feet` of his loved one. Thus, the lovers embark on a journey hand-in-hand, ready to take on all that the world offers up to them. Death is no longer unbearable. The deceased walk beside them. And they lived happily ever after...