By Sheila Barth
So who knew…
That Prince Charming (a.k.a. Topher) isn’t really charming, but a dragonslayer with a paucity of social skills, self-confidence, and awareness of the kingdom’s usurping of farmers’ lands, inciting his subjects’ increasing growling against the empty throne? That lovely Ella (Kaitlyn Mayse), who sits “in her own little corner,” among the cinders, doing household chores and obeying her cruel stepmother’s orders, is also an activist, touting kindness, forgiveness and rights for the downtrodden?
You probably couldn’t guess, either, that Topher’s parents were dead. In their absence, Prime Minister Sebastian (Christopher Swan) has schemed against the throne and its subjects, while keeping young Topher (Lukas James Miller) unaware, attending school in far off places. Topher laments his struggle with self-identity in song, “Me, Who Am I?” ”I wish I were doing something important with my life,” he says.
Okay. You probably wouldn’t realize that Ella’s stepmother, twice-widowed Madame (Sarah Smith), overtly admits she married Cinderella’s father strictly for his money, not love, and wants to marry off her daughters to rich, important men. And Madame’s two daughters? They’re not the demanding, cruel young ladies you remember in Disney’s animated film, and Cinderella isn’t treated as miserably as we anticipated. Gabrielle (Natalie Girard) is a gentle, kinder stepsister, who secretly yearns for a newly-created character, the awkward, social activist Jean-Michel ( Nic Casaula). She doesn’t give a hoot about Prince Topher, who must assume the throne as its righteous ruler.Meanwhile, chunky, stepsister Charlotte (Joanna Johnson) isn’t cruel, either. She’s a comedic scene-stealer with a fatalistic attitude, creating laughter throughout the show.
She’s whiny, like a petulant child, clueless, and guileless, and a hoot in her solo, “Stepsisters Lament,” accompanied by the female ensemble.
All this and more fractured facts are revealed in Douglas Carter Beane’s updated, socially acceptable revision and touring company production of Rodgers and Hammerstein’s beloved fairytale-musical, “Cinderella,” that appears through Dec. 30 at Emerson Colonial Theatre, Boston. The musical is presented by Ambassador Theatre Group and produced by Work Light Productions. Hm. So Cinderella doesn’t lose her slipper on the castle stairs when she runs from the castle at the stroke of midnight. Later, she throws it to Topher, so he can find her.
The two met earlier in the show, when Topher and his entourage arrived at her domicile, requesting water to drink. They met again unexpectedly in the forest, when she encouraged him to become more self-confident and keenly aware of his subjects’ mistreatment. The love-at-first-sight couple also realize they’re both orphans, too, who’ve been misguided by her stepmother and longtime prime minister-guardian, Sebastian. Discovering more about each other, they wonder in duet, “Do I Love You Because You’re Beautiful,” etc., and share the same goal- to make the world a better place.
The charming musical is based on the 1950’s Disney animated film that stole children’s and adults’ hearts with its lexicon of beautiful award-winning songs and fabled fantasy. That version was converted to a stage musical in 1957, starring Julie Andrews. Since then, “Cinderella” has been revised and reworked into television specials and Beane’s ultimate 2013 Broadway revision, winning a Tony Award.
Besides being an ardent activist for the downtrodden, Cinderella advocates kindness, especially to shunned, bent beggar woman Marie, Cinderella’s secret fairy godmother, who magically creates instant solutions to impossible circumstances. Zina Ellis’ instantaneous transformation from elderly, shunned, tattered, Marie to marvelously magnificent fairy godmother, garbed in frothy orchid-hued gown and sparkling crown, awed little fans, sparkling in princess gowns, tiaras and glittery shoes. With her magic wand, amid clouds of stage fog, Marie changes little creatures into footmen and a sparkly pumpkin to a magnificent coach.
Ellis’ clear, melodic soprano soars in songs “Impossible,” “There’s Music in You;” her contrasting song, “It’s Possible;” a reprise of Ella’s“In My Own Little Corner; and the company’s upbeat finale. Not surprising but awesome are multi-Tony Award winning costume designer William Ivey Long’s frocks enabling Cinderella, Marie, and others to transform, split-second, from peasant garb to glittering, regal splendor, with a flip of the hand, unfurling the costume underneath.
Anna Louizos’ set, coupled with Kenneth Posner’s lighting and Nevin Steinberg’s sound effects, rapidly transforms from twilight-lit forests to castledom’s pomp and heraldry, and Cinderella’s home. Lee Wilkins’ choreography is ho-hum for the most part, but lively in ensemble ballroom and village festival scenes. Last Sunday matinee’s multi-generational audience enjoyed the show, but were equally awed by the magnificent, ornately painted, refurbished Colonial Theatre itself. It’s worth the price of admission to see this showcase and historic remembrance of theater palaces’ heyday. for tickets and info go to: http://www.emersoncolonialtheatre.com/calendar/rodgers-hammersteins-cinderella/
