Matthew Bourne's interpretation of Cinderella is a modern, contemporary take on a story that's been told in a hundred ways, numerous times before. 

We all know how it'll go - badly treated girl finds fairy godmother, is transformed into a princess and goes to the ball. It's a simple story and presumably this will just be a re-telling through dance, right?

Wrong.

From the moment you sit down and immerse yourself in the atmosphere of the auditorium, you can tell you're in for something special. Bourne's production brings the story into the (comparatively) modern era with a story of a war time romance. A chance meeting results in a magical night for Cinderella and her dashing young RAF pilot, who are together just long enough to fall in love before being parted by the horrors of the Blitz.

Every second of this show is a masterclass in performance, filled with exquisite staging, an equally incredible soundtrack and, of course, stunning dancing. Bourne has taken the story, added in Prokofiev’s score and turned 'traditional' on its head to create a masterpiece.

Watching Cinderella, you'd be forgiven for thinking you were watching a film, such is the magnitude of the staging it feels cinematic and very reminiscent of 'Gone With The Wind'. The scale and impact of the production easily matches many west end shows and the cast are exceptional from the opening bars. Whilst the traditional form of ballet requires poise and flexibility, the production on stage tonight requires the ability to tell the story explicitly without the use of voice.

Our 'Scarlet O'Hara', Ashley Shaw, is outstanding as our leading lady, taking her character on a journey from timid youngest child to beautiful princess, and back again. Alongside Andrew Monaghan it's almost impossible to take your eyes off the duo. The audience understands every nuance, every emotion and feels the pain Cinderella goes through to find love. It's very rare that any show can bring out every emotion in its two hours on stage. From beaming smiles to genuine affection and belly laughs mixed with real tears, this is a rollercoaster of emotion that nobody wanted to get off.

Liam Mower's interpretation of male 'angel' styled fairy godmother mixes a mischievous narrator with the being that makes dreams come true. For me, he brought the dark and sinister side of fairy stories to the floor and removed the Disney-fication that we so often think of when we envisage 'Cinderella'. 

Brotherston’s costumes and set design have often been described as 'sumptuous' or 'dramatic' - I'd call them breathtaking. What you see on stage is detailed, explosive (literally!) and effective beyond belief. When you realise they're Olivier award winning, there's no question in your mind that the gong was well deserved.

This interpretation of Cinderella doesn't have oversized blue chiffon, pumpkin coaches or dancing mice - nor does it need it. It's beautiful in its subtlety, merging a well known tale with modern elements, this is detailed, well thought out and mesmerising to watch. I've never experienced ballet on stage, let alone a Matthew Bourne production, but it's safe to say I'm hooked and I'll definitely be back for more.

Cinderella runs at Birmingham Hippodrome until Saturday 10th February. For more information and to get your tickets, check out birminghamhippodrome.com.