A Round of Applause for Theatre in-the-Round: Cinderella at North Shore Music Theatre

Rodgers + Hammerstein’s Cinderella – Music by Richard Rodgers; Lyrics by Oscar Hammerstein II; New Book by Douglas Carter Beane; Original Book by Oscar Hammerstein II. Creative Team: Kevin P. Hill (Direction and Choreography), Milton Granger (Music Direction), Kyle Dixon (Scenic Design), Travis M. Grant (Original Costume Design), Kelly Baker (Costume Coordinator), Corey Whittemore (Lighting Design), Don Hanna (Sound Design), Rachel Padula-Shufelt (Hair and Wig Design). Presented by NSMT through special arrangement with R&H Theatricals at 54 Dunham Road, Beverly, MA through July 24

by Linda Chin

After being shuttered in 2020, then bringing back two previously produced shows (Mamma Mia – Encore, A Christmas Carol – 30^th Anniversary) in 2021, NSMT’s return to a six-show season with an impressive lineup of Broadway hits is in itself cause for celebration. Part of my excitement when going to NSMT is seeing how they transform productions that are typically staged proscenium-style to arena-style – with no curtain, multiple entrances and exits (including sub-terranean) and no back (or fourth) wall. In addition to the rousing standing ovation to the cast and orchestra on opening night, a well-deserved round of applause to the Director/Choreographer Kevin Hill, Music Director Milton Granger and creative team for using theatre-in-the round to its full advantage in their 2022 production of Rodgers + Hammerstein’s Cinderella.

As explained by a mom to her pre-teen daughter (overheard during intermission): “It [theatre-in-the-round] is when the stage isn’t a rectangle but a circle, so they have to make changes to the set…and there isn’t a bad seat in the house.” Indeed, a pair of giant Roman-numeralled clockfaces, luminous full moon, leafy treetops, time-worn tree stumps, and rocky glen encircling the stage beckon the audience into the world of this play. For the palace, cottage, and town square, a throne, farm table and stone wall are added. These scenic elements may seem simple, but when the table and wall rise up from below the stage floor, a staircase descends like a drawbridge down the aisle, animal puppets animate the tree stumps, the seemingly static clock hands move as midnight approaches, the effects are simply magical. Kudos to Kyle Dixon (Scenic Design) and Corey Whittemore (Lighting Design) for making every “little corner” pop. 

To the delight of this reviewer, the extraordinarily talented and exuberant cast of 25 (fifteen of whom are professional actors/members of Actors Equity Association) includes BIPOC performers in ensemble and principal roles. A mellifluous Meadow Nguy plays Ella, and drag superstar Jujubee (once introduced by RuPaul as “Laos in the haos!”) plays stepmother Madame. In his contemporary take on this classic tale, Douglas Carter Beane changes the storyline, the traits of many of the familiar figures, and introduces new characters. Prince Topher (a charming Stephen Brower) and Ella, trapped in their own little corners by circumstance, meet by chance and are drawn to each other’s kindness. As the friendly rebel Jean-Michel, Todd Buonopane delivers a powerful rendition of “Now is the Time” to rally the residents around the administration’s unjust land policies (which were promulgated by Topher’s “trusted” mentor Sebastian – seasoned actor Kevin B. McGlynn). As Lord Pinkleton, triple threat Dwayne P. Mitchell’s announcement that “The Prince is Having a Ball,” heightens the anticipation for what’s to come, especially for the spunky stepsisters Jaelle LaGuerre (Charlotte) and Mychal Phillips (Gabrielle). The duo of duets – “Impossible” and “It’s Possible” – sung by Ella and Marie (Tregoney Shepherd) made our hearts soar. And the elaborately costumed “Gavotte” showcasing the creative genius of Travis M. Grant, original costume designer of the costume package provided by Maine State Music Theatre (and hair and wig design by Rachel Padula-Shufelt) is breathtaking.

With its amazing set and costume transformations revealed, major production numbers and familiar songs front-loaded, and an unsatisfying plot twist/cliffhanger with the glass slipper after Ella flees the ball, Act One is a proverbial tough act to follow. Overall, Beane’s storyline  becomes disjointed, repetitious, is too slow-paced and could have benefitted from shortening.  Favorite moments in Act II included the “Stepsisters’ Lament,” highlighting the acting and vocal chops of Charlotte and the Ladies of the Court, and “The Pursuit,” which again displayed the agility and artistry of the cast and creatives at full throttle.

To the mom’s other point, having seats in the round – and that at NSMT are no further than 12 rows from the stage – really works for this family-favorite musical for three reasons: the fabulous dance formations and intensely colorful and exquisitely detailed costumes (that rival William Ivey Long’s Tony-award winning creations) are even more amazing when front and center;  audience members of all ages (and in my experience definitely the younger set) are more engaged when closer to the action and can see and hear better (credit to Don Hanna for sound design); and; the circular configuration supports one of the central themes in Douglas Carter Beane’s book: living harmoniously in a less hierarchical, more equitable society. For tickets and information go to: https://www.nsmt.org/