By Kathryn Olsen
There is no denying that fairy tales make us believe that impossible things can happen every day and, as the casts of Centerpoint Legacy Theatre return to the Barlow Main Stage in Centerville, their production of Rodgers and Hammerstein’s Cinderella is the perfect reminder of that power. This 1957 musical by Richard Rodgers and Oscar Hammerstein II is a strong contrast to both the Charles Perrault story of Cendrillon and Walt Disney‘s 1950 animated classic of the same name as the musical. It is forward-thinking and relatable humorous work of musical theater that explores agency and kindness as well as duty and forgiveness. I have been a fan of the musical since the 1990s and looked forward to experiencing one of my favorite plays onstage for the first time.
As the play opens, Prince Topher (Matt Taylor/Doug Wadley) is reminded of his need to find a wife as he prepares to take the throne. As the good prince has been educated at an all-boys school and an exclusively-male university, he knows no women and his loyal advisor Sebastian (Chuck Gilmore/Dave Hill) proposes a ball to remedy that problem. While traveling through the kingdom, he meets Marie (Kim Tolman/Cynthia Klumpp), the local eccentric beggarwoman, and her lone friend, Ella (Jordyn Tracy/Mailee Halpin). The peasant Ella renders him a service and this begins a friendship that is vital to the success of his quest for a queen. Ella is foiled by the machinations of Madame (Tara Smith/Janelle Tingey), who hopes that one of her “daughters who count” will catch the prince’s eye. Will Topher find true love in a single night? Will Ella stop running away from her chances for happiness? Will Marie’s revelation as every person’s fairy godmother mend all or complicate things beyond repair?
Tracy shines in the role of the title character and meets the unusual emotional demands of Cinderella’s arc. She is a brave and sensitive person who hides these traits for fear of retaliation from her cruel and demeaning step-family, but finds the courage to demonstrate them in their presence when hidden by a mask at the ball. Tracy conveys the valid trauma-wiring that causes this dichotomy and her choice to literally stand up for herself late in the story is emotionally effective.
Taylor is the most relatable of the actors in the cast. He has turns and twists to his personality that he understandably has to work through and Taylor plays this part with great humanity. He is also delightfully comedic, but the most remarkable thing about his portrayal is the earnest longing of his soul that comes through his solos and duets.
Smith’s turn as Madame is histrionic and unfeeling in a magnificent way. Her signature peal of laughter is offset by her droll animosity towards the step-daughter she never wanted. She is constantly pushing her daughters to excel while assuming that Ella will never come to anything by the sheer force of her will and Smith is unforgettable.
Her foil, played by Tolman, is arguably the catalyst for the characters’ arcs. Much like the Witch in Stephen Sondheim‘s Into the Woods, she is mistreated by some and misunderstood by even the most well-meaning of characters. As Ella says in “Impossible,” “But if you could be a beggarwoman not five minutes ago and now you are my fairy godmother, then anything is possible.” She is the enchantress who turns a plain yellow pumpkin and four white mice into a carriage and horses, but she also confidently tells her goddaughter that “YOU could change it all, YOU could make it all happen.” Her intervention late in Act 1 is critical and would be a show-stopper if it were not such a driving force in the remainder of the show.
The supporting roles are likewise excellently cast. The stepsisters Gabrielle (Julia Bradford/Jessica Wadley) and Charlotte (Riley Plott/Jaycee Harris) seem at first to be unwilling to claim any more purpose in life than doing their mothers’ bidding, but Gabrielle transforms into a person whose love for a revolutionary causes her to explore her better nature, while Charlotte refuses to be overlooked. Bradford and Plott play off each other naturally as sisters who have had privilege and adoration for their entire lives. Gabrielle plays opposite the politically daring and helplessly charming Jean-Michel (Colton Ward/Peyton Davis), who longs to have his voice heard at the highest levels of government and finds the courage to take that step with the love of a good woman.
Topher’s closest confidantes are polar opposites, but invaluable. Gilmore is subtle in his personal agenda and invokes memories of Carey Elwes‘ turn as the ambitious uncle in Ella Enchanted with his dissembling. Drew Dunshee (Jared Daley) plays Lord Pinkleton as an advisor and representative who recognizes the need for the prince to be as much a man as a figurehead and Dunshee plays this part with great energy and loyalty.
The ensemble is versatile and almost Greek as a chorus. Notable moments include the group whinge known as the “Stepsisters’ Lament” and the unbridled enthusiasm of the masses during “The Prince Is Giving A Ball.” They perform musically with great unity and support of the main characters of the story while having individual moments of ambition.
Director Jansen Davis and Music Director Britney Ann Salazar work extremely well together to create this phenomenal production, while Choreographer Bailee DeYoung infuses restless excitement as well as composed elegance throughout the show. Technical Director Derek Walden, Shop Manager/Assistant Tech Director Truxton Moulton, and Sound Designer Jay M. Clark make the off-stage dragon very real to the audience and enable the miraculous transformations that are part and parcel of this play. Tammis Boam, the Costume Supervisor, somehow manages to meet the demands of a cast that must dress to the nines or have an everyday wardrobe even when they aren’t turning from a dirty servant into a mysterious princess. These costumes cross social and hierarchical boundaries thanks to the skills of Costume Designer Sydney Howard. Each manipulation of the set is directed by Scenic Change Artist and sometimes godmother Cynthia Klumpp, while Stage Manager Megan Call, Assistant Stage Manager Aimee Howell, and Prop Master Ashley Weller keep everything in the right hands and in the right positions throughout the story.
While the story is not easily comprehended by all younger audiences, it was a joy to see many young children in their very own ballgowns and hear their laughter throughout the performance. It is clearly something that the whole family can enjoy.
Cinderella will not be whisked away in a pumpkin-carriage until April 9th, so there are plenty of opportunities to accept the prince’s invitation to the ball in Centerville. It will be a night of heart and humor that you will not regret seeing before the clock strikes twelve.
Centerpoint Legacy Theatre Presents Cinderella; Music by Richard Rodgers, Book and Lyrics by Oscar Hammerstein II.
CenterPoint Legacy Theatre, 525 N 400 W, Centerville, UT 84014
Mar 11-Apr 9, 2022, 7:30 PM. Check the website for matinee performance dates at 2:30 PM.
Tickets:: $21.75-34.50
Contact: 801-298-1302
www.centerpointthreatre.org
Centerpoint Legacy Theatre Facebook Page
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