By Keolanani Kinghorn
Now playing at On Pitch Performing Arts Center in Layton is Richard Rodgers and Oscar Hammerstein II’s Cinderella (Enchanted Edition). This show, directed by Brandon Stauffer, is based on the Charles Perrault tale, adapted for the stage by Tom Briggs and Robert L. Freedman from the 1997 teleplay. This show is a rare treat. It is not often that you get to see a Rodgers and Hammerstein’s show live, with the exception of Oklahoma. As a theater lover and reviewer, I cannot count the number of shows I have seen, but I have never had the opportunity to see a live production of this particular show. I’d imagine part of that has to do with the magical elements of this play that make it hard to pull off.
The story is based off of the fairy tale that we are all familiar with, but it has been updated to have more meaningful lessons: Cinderella (Sydnie Cruz /Erin Dawson) is raised by her Stepmother (Timery Reis/Jayne Delepine) and lives with her stepsisters, Grace (Jen Morgan/Bailey Porter) and Joy (Niamh Helwig/Christy Rolfe), who make Cinderella’s life miserable. Prince Christopher (Jacob Ericksen/Gabe Root) is similarly tormented and seeks a different life than the one he has been given in a royal house with duties and responsibilities to produce an heir from his parents, Queen Constantina (Crystal Blaisdell/Melanie Miller) and King Maximillian (Charles Cook). In a desperate attempt to marry off their son, the King and Queen hold a ball, inviting every eligible maiden. Despite her stepmother’s best attempts to keep her from the royal ball, Cinderella decides she is going to go. With the help of a Fairy Godmother (Quesley Bunch/Caitlin Olsen), is adorned with a beautiful gown, but only after Cinderella decides that she is willing and able to take responsibility for her own happiness—because she wants Cinderella to learn that magic cannot fix all of her problems. At the ball, the Prince is vastly unhappy despite his trusted companion Lionel’s (Hunter Williams/Tyler Neil) every attempt to help the night run smoothly. When all seems lost, Cinderella suddenly appears, and is everything the Prince did not know he was looking for, but she leaves too soon, and the Prince is left with no name or number, just her glass slipper. The search for Cinderella—the girl he truly connected with—begins and, well…you know the rest.
There were so many elements of this show that I loved. One is the decision to use children as Cinderella’s mice. Cruz sings to the mice and animals played by Devin Reis/Jasmine, Sophia Morris/Emma Larsen and Anton Buffalo-Rice/Violet Ramsey and Moira Helwig/Claire Larkin Charles. Cruz sings “In My Own Little Corner” to the animals and even remarks to the mice, “No offense,” after saying that “I’m as mild and as meek as a mouse.” When Cruz sings, “I can be whatever I want to be,” ensemble members start to come out of her front door dressed as the people the characters mentioned: gypsies, hunters, and others. I loved the imaginative choreography by Ashley Radar Ramsey that at times were very reminiscent of other Rodgers and Hammerstein productions.
Cruz fits the role of Cinderella well, balancing well a character who has lived a life of sorrow, but has somehow managed to stay grateful. Cruz’ vocals were clear and beautiful and matched her character perfectly. Cruz and Ericksen play off of one another, and their harmonies were divine. Musical Director, Jared Daley, did a wonderful job with show and casting choices.
Some of my favorite scenes include the King and Queen. Cook and Blaisdell reminded me of the King and Queen from Chitty Chitty Bang Bang—a couple who have perhaps lived together too long. Their antics had me giggling constantly. Blaisdell made me think of Winifred from Once Upon A Mattress and I loved the unconventional flair she brought to the throne. One of my favorite ensemble numbers was, “The Prince is Giving a Ball.” It was big and loud. The ensemble members were so fun to watch with their standout lines and Williams impressed me with Lionel’s fast lines and impressive belts.
The dynamic between Lionel and Reis as the Stepmother was so fun to watch and full of tension, especially at the ball and when the Prince and Lionel come to try on the glass slipper at Cinderella’s home. When those two friends go on their journey to find the maiden that fits the glass slipper, they come out into the audience and attempt to try it on the “princesses” in the audience. So fun!
The stepsisters, played by Morgan and Helwig were also a highlight of the play for me; their constant wrestling and arguing are just delightful. Sometimes these characters can be portrayed as overly malicious, but I loved how in this play these characters instead lean in on the humor— for Helwig, her perfect snort is highlighted and she constantly misinterprets what her sister says and to whom she is speaking. For Morgan, her awkward demeanor is showcased with her tendency to itch, and her Pig Latin speech towards the end the play had me in a fit of giggles. There were moments when the stepsisters even connect with Cruz’ Cinderella and we get a sense of the human nature of these girls who have been manipulated by their mother to treat their stepsister poorly. I love moments like those.
The costumes by Stacey Haslam are a feast for the eyes with sparkles and rich colors. Fairy Godmother’s costume was probably my favorite design: a flattering and updated white sparkled knee-length gown with sheer puff sleeves and an Elizabethan-inspired white silk collar matching glittered stilettos. This is not the old Fairy Godmother from the Disney fairy tale, and Bunchdoes a perfect job portraying a fresh take on Fairy Godmother that was reminiscent of Whitney Houston—both in voice and demeanor—while still putting her own spin on it. I love that she had glasses—and Bunch can sing. Okay, I’ll just say it, I loved everything about the Fairy Godmother.
Haslam also did an incredible job with Cinderella’s transformation dress, during that scene, Cinderella turns across the entire length of the stage as she is unwrapped from one dress to the next. The space for this theater is unique because it is in the round, up front and close, literally a few feet away from the audience: in other words, there is no hiding. But they handled all of the magical elements with ease and the transformation scene did not disappoint. Trust me, this one is worth seeing. Somehow—in that small space—they managed to fit a full-sized Cinderella carriage that was covered in lights and roses, as different colored star lights twinkled around the room, and a projection of the castle and blue sky filled the background: It was pretty magical. Kudos to Light Design by Gabi Pack and Sound Design by Josh Rice who made these magical scenes come to life.
The set, designed by Stauffer, included opulent furniture featured in the castle and a theme of swirls that was incorporated into set pieces; even the floor had been painted to match the same pattern of swirls, and an impressive white bridge was decorated in golden leaves, where the marriage takes place at the end of the play. Cinderella’s house was quaint, welcoming, and featured stained-glass windows. During the “Step-Sisters Lament” song, the scene is set outside in the garden, where free-standing white lattice gates were used in clever choreography by Ramsey as the sisters sang through the holes of the lattice to each other and turned the pieces so that they were facing a different direction, giving the audience in the round a chance to see from different angles.
Cinderella (Enchanted Edition) is a heart-warming show that both young and old will enjoy together as magic enfolds around you. Don’t miss it.
On Pitch Performing Arts Presents Cinderella (Enchanted Edition); By Richard Rodgers and Oscar Hammerstein II, based on Histoires ou Contes du Temps Passe by Charles Perrault, adapted for the stage by Tom Briggs and Robert L. Freedman
On Pitch Performing Arts Center, 587 N Main St Layton, UT 84041
Feb 9-25, 2023, 7:30 PM
Tickets: $12-18, Free Parking
Contact: 385-209-1557
www.onpitchperformingarts.com
On Pitch Performing Arts Center Facebook Page
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