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 CINDERELLA Role: Mouse, Ensemble Production Info: 10/18/05-12/4/05 @ Paper Mill (NJ) Director: Gabriel Barre Choreographer: Jennifer Paulson-Lee Musical Director: Tom Helm | ||
Since my arrival in New York City, I
had always wanted to be a part of a Paper Mill Playhouse musical.
Their reputation for incredible production values and knack for casting
top-notch acting talent were both well-known by my whole circle of friends,
so when I was invited to rub shoulders with royalty in their
2005-2006 season opener,
I jumped at the chance! This new adaptation of Rodgers & Hammerstein's 1957
made-for-television musical (starring Julie Andrews) brought adventure,
romance, and a miraculous kingdom to the stage in a fanciful and fresh
production. My featured role as one of Cinderella's four mouse friends
was tons of fun...and a chance to learn the exciting new skill of puppetry! | ||
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| TALKIN' BROADWAY, 10/25/2005 by Bob Rendell The totally delightful, shimmering Paper Mill production of Rodgers and Hammerstein’s Cinderella exceeds all expectations. Succeeding triumphantly on all levels, it is likely the finest stage adaptation yet seen. Cobbled together from so many different sources, the Paper Mill Cinderella has no business being as good as it is. The original book for the famed 1957 television production was by Oscar Hammerstein. The current expanded version for the stage was adapted by Tom Briggs from the teleplay by Robert L. Freedman for the 1997 Disney television adaptation, and features four songs interpolated from other Rodgers and Hammerstein works. The original Rodgers and Hammerstein score is, as it always was, a delightful treat. There is a lilting lightness to it that exceeds anything in the Rodgers and Hammerstein cannon. The atypical delight “A Lovely Night” is a prime example. “When You’re Driving Through the Moonlight” combines lyrical joy, narrative and rich humor. From the instrumental waltz to the ballads to the up-tempo and light charm, humor and plot songs, there is not one song in the entire score that is not first rate. In order to expand the 70-minute work to 100 minutes (about two hours with intermission), for the stage, it has been necessary to expand the score. Most notably, Rodgers’ lilting “The Sweetest Sounds” has been seamlessly integrated as the evening’s major ballad. It is sung by the Prince and Cinderella as each separately traverses the marketplace near the top of the first act. Similarly, it is later reprised by each, and thereafter the melody is employed as a musical leitmotif for the pair. (As No Strings is rarely produced, and “the Sweetest Sounds” is so beautifully arranged and aptly employed here only a churl could object). “Loneliness of Evening” (cut from South Pacific) allows the Prince to express his mood at the ball before the arrival of Cinderella. The beautiful “There’s Music in You” from an obscure 1953 movie, From Main Street to Broadway (check it out on-line at the IMDb.com movie database) is a lost, true Rodgers and Hammerstein gem that provides melodic and lyrical beauty for the wedding scene finale. ...Overall, the suitability, integration and quality of the interpolated songs is magnificent. Angela Gaylor is a rather modern, hoydenish Cinderella. ...Gaylor is fully ingratiating and sings beautifully. Paolo Montalban is truly a charming Prince. The naturalness of his easy going grace and charm are ideal here. Montalban carries this manner over to his singing. His secure and pleasant voice always remains appropriately tender. Montalban and Gaylor are a pleasure in their singing of “Ten Minutes Ago” and “Do I Love You Because You’re Beautiful.” Their efforts are ably abetted by a very strong supporting cast. The role of the Fairy Godmother is an example of where seams show. However, Suzzanne Douglas delivers on each facet of her role superlatively. In the scene where she transforms pumpkin, coach, et al., she starts out like a sassy down-to-earth Pearl Bailey (actually, the seeds for this interpretation are in her song “Fol-De-Rol”). However, before the scene is over, she will turn Lena Horne queenly in instructing the coachman, “To the ball, Charles.” Leading the singing of “There’s Music in You,” her beautiful voice and regal demeanor make for a very grand finale. The modern, lowbrow comic writing ...is excellently performed and provides most entertaining comic relief with broad appeal. Only obdurate purists will deny themselves from taking pleasure in it. Nora Mae Lyng (Stepmother), Janelle Anne Robinson (Grace), and Jen Cody (Joy) are an excellent trio of comediennes playing off each other with expert timing. Cody is particularly resourceful and hilarious. Stanley Wayne Mathis as the royal steward stands out with his strong singing (“The Prince Is Giving a Ball”) and flair for comedy. He is a star waiting to be born. Joy Franz (she sings beautifully) and Larry Keith make a fine mismatched royal couple. A puppet cat (who will become a coachman) and four puppet mice (who will become horses) display humor and personality. Operated and voiced by actors dressed head to toe in blue, the puppets add to the production’s delight. The Paper Mill production is based on the national touring production which went out in 2002. It was directed by Gabriel Barre and scenically designed by James Youmans who are repeating their assignments here. The scenic design by James Youmans is most astute and appealing. Without overwhelming the material, Youmans has created a sense of grandeur. Effectively employed are four impressive stage wide curtained arches behind the proscenium. There is a three-dimensional lighted castle downstage center which is always present when we are not at the palace. The set pieces are large, colorful fairy tale book style cutouts. Abetted by the appropriately bright and warm lighting design of Tim Hunter, the scenery is a visual delight. Pamela Scofield’s sometimes whimsical costumes, including bright and clashing comic book colors for Cinderella’s step relatives, add to the visual pleasure. The star of the evening is director Gabriel Barre who must get the lion’s share of the credit for joining the disparate elements together so very well. The pacing is excellent. The production feels neither padded nor too small. It never suggests its origins as a television special. It is chockablock with a myriad of directorial touches, large and small, which provide a texture well beyond that normally available in a fairy tale musical. The best choreography is reserved for the remarkably delightful shadow play scene (viewed through a back lit curtain) in which the Prince and his steward scour the land to find the maiden who wore the glass slipper. And, you will be delighted by the pyrotechnics aiding the transformation of a pumpkin into a coach. It is a gorgeous effect. Paper Mill audiences are going to love Cinderella. It is purely and simply a delightful, fun filled evening. As soon as word gets out as to how delightful it is, parents will be lining up at the box office in droves. At the opening night performance, a very large number of (very well behaved) children were already present A vast majority of the youngsters were girls. However, this should not keep adult audiences away. Rodgers and Hammerstein’s Cinderella is a delight for people of all ages, and, more and more, it is looking like a theatre musical for the ages. |
| THE NEW YORK TIMES, 10/24/2005 by Naomi Siegel The Paper Mill Playhouse has upped the ante by offering a musically rich, eye-poppingly gorgeous, fun-filled ...Cinderella. ...It is the addition of Cinderella's groupies -- an enchanting puppet entourage of four twittering mice, a cat and a soaring white dove -- that creates a special kind of magic. Singing the poignant Rodgers and Hammerstein "In My Own Little Corner," surrounded by these adoring creatures, Angela Gaylor as Cinderella is captivating. There is so much that delights about this production under Gabriel Barre's most able direction. James Youmans' settings, a quirky mix of Day-Glo cardboard cutouts for the town (with the "Magic Kingdom" in the background), and Art Deco design elements for the palace, elicit oohs and aahs from the audience, as does the stunning pyrotechnic display that begins the lowly pumpkin's metamorphosis into a splendid carriage. Pamela Scofield's over-the-top costumes are most amusing.... Larry Keith and Joy Franz are wonderful as King Maximillian and Queen Constantina. They sing "Boys and Girls Like You and Me" with the tenderness of a couple still deeply in love after so many years. As Lionel, the prince's impudent steward, Stanley Wayne Mathis brings attitude to spare. Take the kids or leave them at home, you'll enjoy this winning revival either way. |
| THE NEW JERSEY STAR-LEDGER, 10/25/2005 by Peter Filichia Librettist Tom Briggs has turned "Cinderella," Rodgers and Hammerstein's classy 1957 television musical, into a slam-bang laff-riot at the Paper Mill Playhouse in Millburn. Audiences who are expecting a wistful rendition of the famous fairy tale are in for a jolt. Most of the time, though, they'll be convulsed with laughter from this low-comic romp. ...Many parents who have dutifully brought their children are going to find this fractured fairy tale approach a welcome alternative to the story they've heard one time too many. They'll have fun, too, when they hear their kids guffaw and giggle. Young and old will delight to the excellent production values. The orchestra pit is filled with 20 accomplished musicians who get the most out of every gavotte and waltz. James Youmans' sets are lush and plentiful. Pamela Scofield's costumes, if eye-joltingly comic, are in the spirit of the freewheeling production. (The stepmom looks like an exploded eggplant in her outfit.) Under Gabriel Barre's fanciful direction, Angela Gaylor certainly doesn't play Cinderella as a demure little miss. Gaylor has backbone and doesn't buy her step-relations' view of her inferiority. Thus, when she makes her transformation to belle of the ball, she's right at home in her glorious gown, and ready to meet her fate. Paolo Montalban is what her prince must be: charming. Both he and Gaylor sing beautifully, especially in one of Rodgers' most enchanting melodies, "Ten Minutes Ago." If only that song, along with Jennifer Paulson Lee's graceful choreography, would last that long. Nora Mae Lyng, as the stepmother, strikes fear in the hearts of children as she takes parenting to a new low. Kids will be mollified, though, by Suzzanne Douglas' Fairy Godmother. She's unsurpassed in her ability to lock eyes with her audience, and plenty in the orchestra section will be soothed by her comforting words and lyrics. Jen Cody and Janelle Anne Robinson portray Cinderella's stepsisters, the inappropriately named Joy and Grace. They get every one of the laughs they reach for, thanks to their many over-the-top antics. There's more amusement from Larry Keith and Joy Franz as the King and Queen, characterized as a hen-pecked husband and a dominating wife. The two performers seem as if they've been putting up with each other for decades. In the grand tradition of Disney cartoons -- where woodland creatures come to the aid of heroes and heroines -- Briggs has added a cast of stuffed animals as Cinderella's confidants. Bunraku puppeteers deftly manipulate four mice, a cat and a soaring dove. At Sunday's opening, the mice received a round of applause after they rallied to help Cinderella. The puppeteers, headed by Jason Robinson, deserved it. Earlier this month, Disney released its 1951 "Cinderella" animated film on DVD. Now we have another highly animated version, live on stage in Millburn. |
| VARIETY, 10/24/2005 by Robert L. Daniels Eye-popping special effects include the transformation of a pumpkin into a regal carriage, complete with a dazzling pyrotechnical display, and the amusing stick puppets of a cat, a dove and four little mice that bring a nice response from youngsters in the audience. |
| MILLBURN/SHORT HILLS INDEPENDENT PRESS, 10/24/2005 by Liz Keill Directed by Gabriel Barre, the stage is alight with a truly talented cast. Angela Gaylor makes a fetching Cinderella, with a lyrical voice to match her grace and beauty. Larry Keith as King Maximillian and Joy Franz as Queen Constantina are perfectly matched, with just the right comic flair and strong voices. Stanley Wayne Mathis plays Lionel, the royal steward, in a pivotal role that he delivers with panache. Suzanne Douglas is absolutely compelling as the Fairy Godmother. Not to be overlooked are the amazing puppets, a cat and four white mice. James Bulleri, Ron DeStefano, Jason Robinson, Dante Russo and Jason Weston, plus David Tankersley weaving through with a dove, bring a wonderful zest to various scenes. |
| MUSICALS 101, 10/25/2005 by John Kenrick The good news is that James Bullieri, Ron DeStefano, Jason Robinson, Dante Russo and Jason Weston easily steal the show as the visible puppeteers manipulating the cat and mice that befriend Cinderella. ...These creatures brought ...real moments of enchantment in this production.... |
| CURTAIN UP, 10/26/2005 by Simon Saltzman To see one very small pumpkin in the center of the stage suddenly become a very large pumpkin in the blink of an eye is an act of magic. But then to see that pumpkin replaced by a very grand golden coach pulled by a team of prancing horses amid a blaze of electrical fireworks is even more magical. But what is Cinderella to do about that house-cleaning schmata she is wearing and what of her hair that is piled high into a rat’s nest? Not to worry when there’s fairy godmother with a flair for haute couture on the premises. Smudge-faced Cinderella confidently runs to the coach. In the next blink of an eye, she is transformed head to toe into a vision of radiant loveliness. Her golden hair is softly cascading to her shoulders and she has just been poured into a stunning white tulip-tiered gown. Cinderella is off to the ball to the cheers and applause from the audience as the curtain falls on Act I. If anyone had asked, "Will the real Cinderella please stand up," my guess is that a couple of hundred beautifully coiffed and dressed little girls would have risen from their seats at Sunday night’s opening. And they all looked like they were ready to go to the ball and dance with Prince Charming. Yes, there was a scattering of young lads who had undoubtedly been advised by their parents to be, if not charming, at least well-behaved for the next two hours. Not to worry though -- there is plenty of comedy to keep even the least entranced entertained. No one it seems needed to be coaxed into the mirth of a melodic kingdom that director Gabriel Barre has so cleverly re-considered for his delightful staging of Rodgers & Hammerstein’s Cinderella. All this is not to imply that Cinderella ranks among the greatest in the R & H canon. However, it does have a beautiful score even if it can hardly be said to propel the plot forward or add dimension to any of the characters. Without being campy or remotely childish, this is a version adapted for the stage by Tom Briggs (from the original teleplay by Robert L. Freedman) that has been craftily scripted for contemporary ears. Best of all, in Barre’s hands the implanted comedy reigns supreme. Commanding the stage with an infectious energy in an otherwise small role is Stanley Wayne Mathis, as Lionel, the Prince’s royal steward, proving there are no small roles. Puppetry, a highlight of this production, is deployed with wit and finesse in the likes of Cinderella’s favorite fat cat who becomes a Coachman (James Bulleri); four hilariously exuberant white mice who become horses (Ron DeStefano, Jason Robinson, Dante Russo, Jason Weston); and a dove (David Tankersley on roller blades) who becomes a footman. Musical theater buffs will notice that "The Sweetest Sounds," the first song you hear in this version is actually lifted from No Strings, another R &H musical. Sweetly as it is sung by Cinderella (Angela Gaylor) and Prince Christopher (Paolo Montalban) soon after they literally bump into each other in the village square, it never aspires to be more than melodic padding. On this neat bit of exposition Cinderella doesn’t realize that she has just met the prince because he's dressed like a commoner. Gaylor, who was most recently seen as Anne in the Tony award-winning revival of La Cage Aux Folles, sings winsomely and affects a refreshingly spunky demeanor as an unusually determined Cinderella. Montalban, who played Prince Charming in the ABC/Disney’s TV version of Cinderella, has what it takes to sweep a girl off her feet as well as a fine tenor voice. "Boys and Girls Like You and Me," which was dropped from Oklahoma, R & H’s first collaboration, serves as a wistful... duet for the otherwise particularly well-matched and unexpectedly compatible King (Larry Keith) and Queen (Joy Franz). Speaking of joy, what a pleasure to have Keith and Franz characterized as an altogether endearing royal couple whose only desire is to see their son have as happy a marriage as theirs. We are as eager to respond to their romantic feelings as we already have to Cinderella and the Prince in the quizzical "Do I Love You Because You’re Beautiful." The plot is so familiar that it defies repeating, so just let it be said that the romantic wishes of Cinderella and Christopher remain timeless and inevitably fulfilled. Time has, however, allowed for color-blind casting, a concept that follows the advice of one of the songs, "It’s Possible." In this optimistic light, the Fairy Godmother (played hip and with plenty of sass by African-American Suzzanne Douglas) proves to Cinderella that anything is indeed possible. And what a terrific idea it is to have an especially beautiful Fairy Godmother envisioned as the protective spirit of Cinderella’s mother who died when she was a child. With a handsome prince who is Asian, one step sister played with laugh-provoking klutziness by African-American Janelle Anne Robinson and the other step sister played with clueless abandon by Caucasian Jen Cody, this Cinderella is opened up in ways that never entered the minds of the Brothers Grimm. And peering through her stunningly garish get-ups Nora Mae Lyng's mean stepmother bristles with every color of the rainbow. Here is one racially-mixed magical kingdom whose only problem with color might be deciding which one of designer Pamela Scofield’s brilliantly hued and whimsically patterned costumes will outdo another. Jennifer Paulson Lee’s choreography provides some breezy and unpretentious divertissements. James Youmans’ minimalist yet striking scenic designs include a story-book cutout village, a gold columned ballroom, and Cinderella’s home where the mice are friendlier than family. This family-friendly, wish-fulfilling Cinderella that delivers "A Lovely Night" -- and for some a matinee. Some notes for fact collectors: Originally produced for television in 1957, starring Julie Andrews, in the title role, various stage adaptations of Cinderella began appearing in 1961, but never one on Broadway. The New York City Opera produced it 1993 and most recently in 2004 with Eartha Kitt, as the Fairy Godmother, a role in which she has toured. Although a crude kinescope version of the live 1957 telecast remains, most viewers are familiar with the 1965 version with Leslie Ann Warren and the 1997 version with Brandy. |
| THE DAILY RECORD, 10/28/2005 by William Westhoven The 2005-06 season at Paper Mill Playhouse got off to a belated, but hopeful, beginning last week with a colorful and crowd-pleasing production of "Cinderella." Following a troubling 2004-05 campaign, Paper Mill is working hard to achieve two sometimes conflicting goals -- fill its 1,200 seats now while building a younger audience base for the future. This "Cinderella" packs enough charm and magic to delight children of all ages. Certainly, the Sunday-night press-opening crowd, liberally sprinkled with wide-eyed youngsters, rose to its feet and roared with approval. Suzzanne Douglas, an African-American actress and Broadway veteran, plays a sexy and sassy Fairy Godmother, who updates the role a bit with lines like, "you were expecting a tutu and a magic wand? Been there, done that." Janelle Anne Robinson, another African-American actress, adds some spicy sista syntax as one of Cinderella's evil stepsisters. She's teamed, Mutt-and-Jeff style, with pint-sized Jen Cody as the other spoiled step-brat. Their DNA is mapped with kinky red fright wigs that match the coiffure of their bloated and boisterous mom (Nora Mae Lyng), and the trio's slapsticking provides much of the show's light and lively comedy. Another African-American actor, Stanley Wayne Mathis, also gets his share of laughs as the royal steward, who has to fend off the aggressive romantic advances of Cinderella's stepmother. Montalban is smooth and appealing in a role he's obviously familiar and comfortable with. Of course, the success of "Cinderella" hinges more upon the actress chosen to play a role so many little girls dream to play, both on- and off-stage, and both literally and figuratively. The luminous shadows of Cinderellas past add to the challenge, but Angela Gaylor (a Broadway vet and, for soap fans, Libby on "All My Children"), acquits herself nicely, with a strong voice, a radiant smile and a convincingly modest demeanor. This being a fairy tale, with a story lighter than a hummingbird's tail feather, the other essential element to success is the show's curb appeal. Director Gabriel Barre has a reputation in these parts for classic theater, having directed "Pericles" and "Hay Fever" in recent years at the Shakespeare Theatre of New Jersey. Here, he shows the smooth hand he's developed with lighter fare, including his direction of the national "Cinderella" tour. There's a kaleidoscope of vibrant color onstage, along with a handful of nifty special effects, including the all-important transformation of a pumpkin into Cinderella's golden carriage. Less technically impressive, but even more imaginative, are Cinderella's support group of four mice, a cat and a dove, which are represented by puppets on wire rods delightfully animated and voiced by visible men (the "dove man" glides about the stage on in-line skates). Naturally, when the small animals are transformed into the carriage's horses and attendants, the men make for a convenient transition. But the crowd buzzed even more about Cinderella's costume changes from rags to ball gown, and back again, which were done in the blink of an eye. I sat in front of a former Paper Mill costumer who claimed even she didn't know how they did it. It may be fluff, but Disney's been getting fat on this stuff for decades. There's a reason -- fluff is fun. So if you're in the mood, skip the latest Disney video and give your children an experience they'll remember instead of replay. |
| THE HOME NEWS TRIBUNE, 10/27/2005 by Charles Paolino ...This show is for fun, and there's no shortage of that. Gaylor is a feast for the eyes in rags or in finery, and she handles every aspect of her role — including the songs — with skill and grace. Paolo Montalban, who has had a mini-career playing Prince Christopher, is as credible as fantasy will allow as a young man in search of a more fulfilling life than the rituals of royalty provide. One of the raps on the popular Disney version of this story is that the prince's infatuation with Cinderella is based solely on her beauty. This show might overcome that objection with the song "Do I love you because you're beautiful?" — but also with the genuine interest portrayed by the two young actors in their scenes together. This show was cast with a color-blindness usually associated with opera, so that a seemingly Caucasian king and queen have an Asian son and a black steward, and the white stepmother has one white and one black daughter. And the fairy godmother — a figure usually associated with Billie Burke in taffeta — is played by the versatile Suzzanne Douglas, stunning in a dark form-fitting gown. Douglas, who commands any stage she sets her foot on, is a crowd-pleaser with her somewhat campy portrayal of the fairy savior. She sends a thrill through the house with her soaring rendition of the prologue. A great deal of humor is injected into this show by four mice, a cat and a dove — puppets deftly operated in full view of the audience by Ron DeStefano, Jason Robinson, Dante Russo, Jason Weston, James Bulleri and David Tankersley, respectively. These personable figures are not on stage just to get laughs; they advance the story in important ways. The wildly colorful costumes by Pamela Scofield are an odd mix of styles with hints of western and eastern Europe and the Arabian peninsula; they work well with the fanciful sets by James Youmans. Special effects — particularly the dazzling transformation of Cinderella from kitchen scullion to palace beauty and back again — are the highlights of a thoroughly entertaining show. |
| THE BERGEN COUNTY RECORD, 10/30/2005 by Jim Beckerman ...But really, what is there to say about "Cinderella"? Even the "Cinderella" at the Paper Mill Playhouse through Dec. 4, which is by the way splendiferous, enchanting and, need we add, just the thing to take kids to? All irresistible - and it remains so in this splashy Paper Mill revival, overflowing with music, dance, lights, smoke, fireworks, floating pumpkins, a puppet cat and mice, a bird on Rollerblades (don't ask), marvelous multilayered scenery by James Youmans that makes the whole stage look at times like a View-Master stereoscope slide, and delightful colorful costumes by Pamela Scofield that turn the whole cast into walking petit fours. This Paper Mill revival seems to be patterned to some extent on the recent Brandy TV version - from which, among other things, it borrowed its prince. Paolo Montalban, repeating his role as Prince Christopher, is ... well, charming. The rest of the cast, following the multicultural lead of the Brandy version, is diverse enough to make "Cinderella's" far-off kingdom seem as cozy and familiar as a New Jersey suburb. Especially when they start saying things like "duh," "get a life," and "I hear that," which, oddly enough, seems right for "Cinderella," that most democratic of stories from old Europe. This is the only classic fairy tale, after all, to moralize that even a commoner - if she's pure of heart, sweet of temper and a knockout in the looks department - can become a princess. Cinderella, too, in the person of Angela Gaylor, is more spunky than demure. A necessary bone, perhaps, to throw to modern moms who want their daughters to have their princess fantasies, without internalizing the lesson that used to go with them - that a real princess is a doormat for her man. Not in 2005 she isn't! Gaylor, with a sweet singing voice and a smile a yard wide, seems like a more-than-good compromise. She does her fetching and carrying politely, without appearing too servile. She makes it clear, by the intensity with which she sings of her daydreams in her "In My Own Little Corner" number, that she has plenty of inner spark. When she finally transforms into a radiant princess, the dazzling gown and hair just seem like the outward manifestations of what we saw inside her from the start. She's merely turned - like a kernel of popcorn, as it were - inside out. Gaylor's performance anchors this fantastic story in reality. But the performers who play the secondary characters are the ones who really get to have fun. The best, maybe, is Suzzanne Douglas, who seems to be channeling Lena Horne when she steps onstage and announces, "I'm your Fairy Godmother, hon." When questioned about her fairy-casual attire, she asks if Cinderella was expecting a tutu and a magic wand. "Been there, done that," she growls. Stepsisters Janelle Anne Robinson and Jen Cody seem to be having a wicked good time, too - Robinson as the strident older sister, Cody as the whimpering younger one ("I've been cultivating my naturally infectious laughter," she whines at one point). Their "Stepsisters' Lament" in Act 2 is one of the show's highlights. And there are witty performances, too, from Nora Mae Lyng as the stepmother, Larry Keith and Joy Franz as the king and queen, and Stanley Wayne Mathis as the steward who gets to say, when Cinderella enters the ballroom, "She sure is a bad mama jama." By happy chance, this Paper Mill production, well-directed by Gabriel Barre, arrives just as Disney has rereleased its own "Cinderella" on DVD. Which means that your kids probably already have "Cinderella" on the brain and will be clamoring to see this production. Now there's a magical coincidence. BR> |
| THE ITEM OF MILLBURN AND SHORT HILLS, 10/27/2005 by Thom Molyneaux Probably the most delightful addition to the original script is Cinderella's animal friends, cartoon characters in puppet form, brought to life by pupperteers that, as an audience, we both agree to see and not see. It's a terrific combination of a tribute to the Walt Disney animated version of "Cinderella" and a theatrical technique that harks back to the Bunraku, one of the three ancient Japanese theaters (Kabuki and Noh are the others). Starting in the 17th Century, Bunraki, which Westerners called Doll Theatre, used 3-foot high puppets and handlers, dressed in black and thus "invisible," to tell its stories. Blend in a little vaudeville, burlesque, some old-school lighting tricks, hip new technology, a talented design team and a cast of solidly professional performers, and you end up with one of those rare and magical theatrical events you'll remember for a lifetime. |
| THE PRINCETON PACKET, 10/27/2005 by Stuart Duncan This is a production that gives the individual performers a real opportunity to match the stage magic and they do. The wonderful Suzzanne Douglas (sensational in Wit at George Street Playhouse a few seasons back) plays Cinderella's Fairy Godmother with all of the style of a star in its zenith, plus a touch of Christmas Past. Her singing of "Fol-De-Rol" is memorable. The two stepsisters, Janelle Anne Robinson and Jen Cody, are a vaudeville act unto themselves. In fact, Ms. Cody looks as if she might be ready for a single. A quintet of dancers has learned how to manipulate white mice and a Cheshire cat that are so charming, whole scenes simply stop in their tracks and wait for the oohs and aahs to finish. And one brave dancer, David Tankersley, has mastered roller blades that allow him to become a dove of peace flying through scenes. Angela Gaylor could easily become a national heartthrob as she makes Cinderella look just like the princess who lives next door. And one cannot forget the Rodgers and Hammerstein score — "In My Own Little Corner," "Ten Minutes Ago," "Impossible," "Do I Love You Because You're Beautiful?" and "A Lovely Night." And so it makes no difference whether you were brought up listening to the tale of Cinderella, or Yah-hsien (in China) or Katie Woodencloak (in Norway) or Trembling (in Ireland) or Rashin-Coatie (in Scotland) or Pepelyouga (in Serbia) — be prepared to be charmed once again. And, if you have a youngish daughter, dress her up and find her a crown and then ask her if you can join her for the show. |
| BROADWAYWORLD.COM, 11/14/2005 by Michael Dale The addition that works best is that a bit of backstory is given concerning Cinderella's biological parents, with a connection suggested between the Fairy Godmother and her birth mother. There's even a little background given about the Cinderella's father's second marriage, giving the show a healthy dose of realism to go with the fantasy. Also healthy in its realism is that the prince is depicted with more humanity, rather than just a prize for the prettiest girl. "The Sweetest Sounds" from No Strings, the first Rodgers musical to premiere on Broadway after Hammerstein's death, is inserted into the score and used in the same manner as it was in its original show; to demonstrate the similar longings of the two leads before they even meet. As is the custom nowadays with young female characters in musicals, and a worthy custom it is, the title character is made to do more than just sit there wishing for a better life. She tries to improve her situation. And it's only when her best effort completely fails that the Fairy Godmother says something to the effect of, "Well, at least you tried. Now I'm going to magically do everything for you." (Not exactly as inspiring as "Climb Every Mountain", but it's a start.) ...director Gabriel Barre's frothy production is well-played and cheery with appealing performances and stagecraft that works its magic without overwhelming the material. Angela Gaylor's spunky Cinderella has some believable rough edges to her, with a singing voice that eschews the traditionally pretty sound in favor of gutsy determination. Paolo Montalban is an extremely charismatic, smooth singing prince. "Boys and Girls Like You and Me", a song cut from Oklahoma, is added to the score with little effect plotwise, but any moment that gives a couple of terrific pros like Joy Franz (as the queen) and Larry Kieth (as the king) a chance to duet is fine with me. Cinderella's book never had many good jokes to begin with, but Nora Mae Lyng (stepmother), Janelle Anne Robinson and Jen Cody (stepsisters) still manage to amuse with their antics, especially Cody, who I'm sure could squeeze a laugh out of a brick. Also amusing are Suzzanne Douglas as the Fairy Godmother, Stanley Wayne Mathis as the royal steward and a sextet of puppeteers (James Bulleri, Ron DeStefano, Jason Robinson, Dante Russo, Jason Weston and David Tankersley) as Cinderella's animal friends. The production looks lovely with Pamela Scofield's multi-cultural costumes and set designer James Youmans and lighting designer Tim Hunter teaming up for some magical moments. Kids and their parents, and even adults without kids, will find many reasons to be delighted. |
| THE GAY CITY NEWS, 11/17/2005 by David Noh ...Cinderella has a pair of charming leads in the persons of Angela Gaylor and Paolo Montalban as Cinders and her Prince, but the show is stolen by a bunch of singing puppet mice. The cornball device, more Disney than anything else, actually pumps some disarmingly silly freshness into the show. This production is far superior to the recent star-studded but abysmal City Opera revival, with the transformation scene having way more real magic to it, thanks to some flashy pyrotechnics and the best quick change stunt I have ever seen onstage. |