Poor Cinderella. You know the story, right? This fluffy, kinda cute version offered by PlayhouseSquare of Rodgers & Hammerstein’s Cinderella was wisely scheduled during the summer so youngsters could enjoy it during vacation. Good idea.
Before the show the entrance was jammed with girls dressed up like junior princesses in sparkles and satin. They were also looking at the T-shirts for sale inscribed with “I can be whatever I want to be.” (Really? Really? Ah well, that’s a rant for another day.)
It’s all work and no play for poor Cinderella. But it’s hard to feel sorry for this relentlessly cheerful girl who doesn’t develop a complex or hold a grudge no matter what — even if her stepmother (a marvelously bossy Beth Glover as Madame) treats her badly. Our girl Ella (played by the charming Paige Faure who makes us like her super-sweet character) still finds time to enjoy life’s little joys and be kind to all — including the old beggar woman (which is smart since that old woman turns out to be magical). On opening night, 7/22, understudy Lauren Sprague charmed us as both Marie the old beggar and the fairy godmother she turned into as she worked the requisite magic on the pumpkin coach (beautiful design by Anna Louizos), the animals, and Ella herself.
Bouncy Aymee Garcia (as Ella’s self-absorbed stepsister Charlotte) brought a smile whenever she came on stage, thanks to her over-the-top delivery and knack for physical comedy. Other entertaining characters in the overall excellent cast included the slightly dim-witted Prince Topher (handsomely characterized by Andy Huntington Jones), social activist Jean-Michel (Will Blum), and Ella’s nerdy stepsister Gabrielle (Kaitlyn Davidson).
The set is lovely. It’s especially enjoyable to look at the dark mysterious trees with little birds twittering hither and yon while waiting for the show to begin.
Rodgers and Hammerstein wrote this musical for a 1957 television special, and it suffers from that fact. There are welcome melodic fragments from their other shows; most of the songs are pleasant, but forgettable. There’s a basic thinness of story (originally designed to fit in between TV product ads?) that the socially conscious new additions to the book by Douglas Carter Beane do nothing to improve. The “contemporary” language doesn’t help much either because it distorts the romantic and magic thread needed to hold the tale together. What is this? A lecture to the people (like Les Miz?)? Or a dashing love story? And really, is Ella going to be just another woman who marries a man to improve him?
It’s perhaps telling that while the original 2013 Broadway production was nominated for nine Tony Awards, only William Ivey Long won for best costume design. And that award was well-deserved. Magical quick changes, for example, when Ella’s ugly peasant dress turned and unfolded into a gorgeous ballgown, brought gasps from the audience.
Bottom Line: There’s magic in the scenery and the costumes, not so much in the story or the music. Young ones will likely enjoy it, but their parents may yawn.
Cinderella continues through 8/14 at the Connor Palace at PlayhouseSquare with shows Tuesdays-Fridays @ 7:30 p.m., Saturdays @ 1:30 p.m. and 7:30 p.m., and Sundays @ 1:00 p.m. and 6:30 p.m.
[Written by Laura Kennelly] [Photo by Carol Rosegg] playhousesquare.orgCleveland, OH 44115