By Jennifer Mustoe
In a year that has been through so much, Director Colleen Carrasco brings to Payson Cinderella, a wondrous musical filled with magic and fun. Accompanied by my daughter-in-law, Hannah, and my granddaughter Lucy, it was girls’ night and we were up for a treat. And we got it.
Rodgers & Hammerstein wrote this version of the Charles Peralt‘s classic Cinderella and it’s a lovely depiction, similar to Disney‘s but different in ways I frankly prefer. The original televised broadcast in 1957 starred Julie Andrews (the actress I’ve most wanted to meet in my life) as Cinderella and Jon Cypher as the Prince. More than 107 million viewers saw the broadcast. The production I most remember was made for television 1965 and starred Lesley Ann Warren and Stuart Damon. I remember seeing that show and being completely mesmerized. I was no less delighted with Payson’s production last night.
Katrina Riboldi plays Cinderella with delicacy that shines through, but carries herself tall and spunky in her “In My Own Little Corner”, and the little forest animals, played by a group of talented dancers and gymnasts, frolic around her. They were my little Lucy’s favorite part. Riboldi is a lovely actress, with a voice to die for, and a poise that is rarely seen in someone so young. Her duet with Prince Christopher (Colton Simons) “The Sweetest Sounds” is amazing. I’m not a fan of reprises, but hearing that charming song again was a pleasure. Simons brings a sincerity to the role that is really spectacular. He IS the Prince. We also loved the duet “Do I Love You Because You’re Beautiful”–it brought tears to my eyes. Both actors are proficient dancers and they sold the twitterpation grown into love that can often seems trite. Hannah said in most Cinderella productions, often the whole point of wanting to marry the Prince is to get away from her lousy life with her mean stepmother and petulant, obnoxious stepsisters, or it’s a giddy romance that doesn’t feel authentic or dreamy–but not so in PCT’s production. Riboldi and Simons are a wonderful pair as they gaze into one another’s eyes. She’s shy, then transformed to dewy eyed in love and he, grateful and ready to find his soul mate.
The Stepmother, played with shrewd disdain by Laura Holley, struts across the stage with a straight-backed sharpness that is gloriously wrenching to watch. Her every word drips with rude unkindness. The Stepsisters provide the biggest laughs of the night. Joy (Aubrey Palfreyman) and Grace (Emma Garret) are two of the finest comedic actresses I’ve ever seen, and I’ve seen everything from junior high productions to Broadway shows. Their comedic timing and physical comedy is a joy (pun) to behold. Their “Stepsisters’ Lament” will make you laugh out loud. The faces they make, their movement while bickering, I could go on and on. I’m hoping they are paired again in another show. I’ll be there to watch them.
The Fairy Godmother, played by Amy Rachel Raddetz, is pure magic. She has a marvelous voice that hits some notes that go straight into the top of the theater. But her take on her role is darling and when she’s onstage, you can tell that she is enjoying every second in front of an audience. She is sly, funny, sweet, encouraging, and often feels like a mother who lovingly scolds the meek, beleaguered Cinderella. In “Impossible/It’s Possible” the duets with Cinderella and the bond formed between the two actresses is believable and delightful.
Queen Constantina (Nicole Schofield) and King Maximillian (Calvin Kitchen) make a regal couple who care for one another after many years together. It’s their love match that their son the Prince desires for himself. Schofield is beautiful and tender, and Hannah said that Kitchen looks like the King on a deck of cards, only funny and friendly. We especially liked their concern for their son–they seemed like a healthy, happy family, which we liked. Lionel, played by Ben Dunford, takes his role as Prince Christopher’s assistant, with a frenzy in the first ensemble number, “The Prince is Giving a Ball.” Dunford is fun as he tries to please the King and Queen, but be a companion to the Prince. He carries this off beautifully.
The Ensemble is wonderful, having created distinct characters as shop keepers in the first number and then guests at the ball and the wedding. (Spoiler alert–Cinderella and the Prince get married. Like you didn’t know, but still…) I noticed that all Ensemble members smile and have a world of fun. The synergy of the group is very meaningful and delightful.
There is a group of featured dancers that perform during the ball and wedding that add grace and beauty. All dance numbers, choreographed by Chantelle Wells, assisted by Emma Black are effective and pretty. The waltzes are yummy. The steps are intricate enough to look authentic and the swinging and swaying skirts are stunning.
One of the “stars” of the show are the sumptuous costumes designed by Kristina Holley, assisted by Miranda Mobbs. Each piece is beyond gorgeous. They are ornate, sparkly, professional in design, color, and fabrics. (And Holley rents them, so all of you who want the most beautiful costume you’ll ever wear, get in touch with her.) The royals look royal, the dancers are breathtaking, the stepsisters twinkle with gaudiness, the shopkeepers are great, and the cute little animals make you want to snuggle them. And Cinderella’s big reveal with the dress her Fairy Godmother gives her is heart-warming and dazzling. The Fairy Godmother, too, has a big reveal that shimmers. You’ll love it.
There are moments in this show that are so tender. As Hannah says, not every dysfunctional families are horrible all the time. Not everything is bad. One is the song, “Lovely Night” with the stepsisters. One of the others is when Cinderella hugs her stepmother at the wedding. I asked the director if she had asked for the hug. She said, “That was all them.” This is the proof of a great director. Their actors are led to beauty just because they’ve created an environment where this can happen. Hannah said this is her favorite Cinderella, because she is so kind, loving, and forgiving. I agree. That hug made me cry. When you can be anything, be kind and forgiving.
The songs in Cinderella are lovely, but the voices bring those songs to life. Musical Director Noelle Condor has taken her cast and brought perfect harmonies to each song. Whether a duet or big ensemble numbers, each song is powerful. Hair and makeup is essential in a show of this caliber, and Hannah Anderson makes every character distinct and dazzling. Stage Manager Shaelyn Hayward had a big task with a big cast, but they are proof she did her job. Lighting Designer Elizabeth Griffiths, Sound Designers Richie Trimble and Brock Larson, and Set Designers Steve Twede and Michael Carrasco together create a stage, sound, and lights that enhance Cinderella‘s magical story.
Cinderella is family-friendly and not to be missed. Though the Payson High School auditorium is large, get your tickets early. Cinderella is magical, funny, touching, and wonderful for the whole family. It’s Possible.
Payson Community Theater presents Cinderella, music by Richard Rodgers and book and lyrics by Oscar Hammerstein II.
Payson High School Theater, 1050 S Main St, Payson, UT 84651
August 26-8, 30, September 2-4, 2021 7:30 PM, September 6, 2021 3:00 PM
Tickets: $10 online or at the door
Contact: paysoncommunitytheatre@gmail.com
Payson Community Theater Facebook Page
Cinderella promotional video
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