Cinderella
Music by Richard Rodgers, Lyrics by Oscar Hammerstein II
New Book by Douglas Carter Beane
Original Book by Oscar Hammerstein II
Directed by Mark Brokaw
Choreographed by Josh Rhodes
The Fox Theatre
January 20, 2015
Paige Faure, Andy Jones
Photo by Carol Rossgg
Cinderella National Tour
The current touring production at the Fox Theatre is billed as Rodgers and Hammerstein’s Cinderella, although this is a version Rodgers and Hammerstein themselves never saw. Based on the Broadway production with a new book by Douglas Carter Beane, this touring show is a fairly major expansion of the show that was televised three times in 1957, 1965, and (slightly revised) in 1996, starring Julie Andrews, Lesley Ann Warren and Brandy respectively. With new characters and a new twist that makes this more than just the story of a girl who wants to go to a ball and meet a prince, it’s an intriguing production with some stunning special effects and sumptuous production values that are really the main attraction here. It’s a show designed to entertain, and that it does, even despite a somewhat convoluted script and good but somewhat uneven cast.
The story is the familiar one with a French setting, with many of the characters having French names, and Beane’s new plot twists. Here, Cinderella (Paige Faure) is still a young women who is treated essentially as a servant by her haughty stepmother, Madame (Beth Glover). She dreams of more than just marrying a handsome prince, though, and only one of her stepsisters, the self-centered, brassy Charlotte (Aymee Garcia) is mean to her. The other stepsister, Gabrielle (Kaitlyn Davidson) is sweet but timid, and secretly in love with would-be revolutionary Jean-Michel (David Andino), who wants to talk to the Prince about how he runs the kingdom, and particularly the oppression of the poor. The problem is that Prince Christopher Rupert, etc., known as Topher (Andy Jones) is fairly clueless about what has been going on in his kingdom, which has been run by his shady adviser Sebastian (Blake Hammond) while the prince has been away at university. Upon his return, Topher is looking for his purpose in the world and preparing for his coronation. To keep him from asking too many questions, Sebastian suggests he get married, and host a ball so he can meet eligible women and choose one to be his queen. Meanwhile, the kind but mistreated Cinderella sticks up for the mistreated local eccentric, Marie (Kecia Lewis), not realizing that Marie is the fairy godmother who will be able to help Cinderella get to the ball. All of these plots intertwine and play out slightly differently than the traditional Cinderella story, with the added political angle and an a somewhat contrived ending.
All the well-known songs are here, like “In My Own Little Corner”, “Ten Minutes Ago”, and “Impossible”, with some additional songs added to support the new script. It’s an admirable attempt to expand the Cinderella story, although there seem to be too many subplots and too neat of a resolution at the end. The performances are hit-or-miss, as well, but mostly hits. The strongest impression is made by Faure as the kind but tenacious Cinderella, with her strong stage presence and clear, expressive voice. She’s paired with the likable Jones as Prince Topher, who has a personable manner and good chemistry with Faure, but lacks a little in stage presence and noticeably struggles on the higher notes in his songs. Both stepsisters are standouts as well, with Davidson demonstrating shy sweetness with just the right amount of boldness, working well especially in her scenes with Faure and with Andino’s amiably earnest Jean-Michel. Garcia, for her part, gets a scene-stealing moment with her hilarious song “Stepsister’s Lament” early in Act 2. There’s also strong work from Antoine L. Smith as royal herald Lord Pinkleton, and Lewis as the eccentric fairy godmother, Marie. As Sebastian, Hammond is fine although the character is mostly one-dimensional. The weakest link here is Glover as Madame, who underplays the role to the point where most of the character’s best comic moments fall flat. The leading performers are supported ably by a strong ensemble, in good voice and with a great deal of energy in the dance numbers, executing Josh Rhode’s inventive choreography especially at the ball.
The look and production values of this production are its real strengths. Anna Louizos’s set takes us into a fairy tale world with an abundance of magic and vibrant color. William Ivey Long’s costumes add to the magical atmosphere as well, in addition to some truly astounding special effects involving characters’ wardrobe transformations, The sometimes whimsical, sometimes romantic mood is set well by Kenneth Posner’s striking lighting, as well. This is a very tech-heavy show, and all the elements blend together seamlessly, making for an enchantingly stylish look and atmosphere.
Cinderella is a much-beloved story that’s been told in many forms over the years, and this latest one has much to recommend it, even though it does have its issues. What really works more than anything else, though, is its style and spectacle. Magic is in abundance, and the music is marvelous. It’s a story that has much appeal for all ages, even with its limitations, it’s an entertaining tale of magic, romance and wonder.
Paige Faure (center) and cast
Photo by Carol Rosegg
Cinderella National Tour
Leave a Reply