“A dazzling, clever and visual feast with a message for today’s world. Little girls may dream of being a rags-to-riches princess but the message is clear that a kind heart and social activism are more important than appearance. As for the princes of society, they too have social obligations. “
Kate Stratford
3.5 /5 stars
It isn’t Disney but neither is it the Charles Perrault version from 1697 (on which Disney based their story) or the Grimm Brother’s 1812 publication. Rodgers & Hammerstein’s Cinderella falls intelligently somewhere along the line, much as the film Ever After did. So not saccharine but not a grim tale either.
This Cinderella (which premiered as a 1957) has been updated for contemporary audiences with a new book by Douglas Carter Beane. All classic elements of the fairy-tale are there but this Cinders is a heroine with a social conscience, a political viewpoint and a kind heart; whilst the Prince is not some arrogant twit but a man looking for purpose and meaning in life. There are villains, and difficult step-sisters and a fairy godmother and magic and of course, glass slippers but like most R&H musicals, there is a strong social message.
This cast is flawless and so much an ensemble it is difficult to single out particular performances. Shubshri Kandiah as Ella seems to effortlessly glide through the demanding lead role where she has to act, sing, dance and cleverly execute quick-change tricks worthy of an international talent show – and all whilst being in almost every scene. Ainsley Melham is perfectly charming as Prince Topher, self-deprecating, intelligent and with an air of yearning for the inexplicable; a layered performance which is always hard to deliver in a musical.
The energetic support cast finally get to show their parents that all those ballet and singing lessons in their youth were not wasted and leap and pirouette around the gorgeous sets in sumptuous costumes. One of the most memorable scenes is the ball – as it should be. Just sit-back and let the magic transport you to those childhood moments of imagination; people in wonderful costumes dancing in a glittering ballroom under a romantic moon.
The two villains – Sebastian (Nicholas Hammond) and Madame (Tina Bursill) deliver performances indicative of talent and much experience although I still struggle that the characters are so easily forgiven. Yes, I know kindness and forgiveness are key elements of this story but these two characters actually get away with behaving badly. The step-sisters (Gabrielle played by Matilda Moran and Charlotte played by Bianca Bruce) are likewise redeemed but more through awareness and personal growth – a much more satisfactory outcome.
As the very necessary Marie/ Fairy Godmother, Silvie Paladino is impressive as she hits the notes and literally flies around the stage. And there is a notable tenor performance from Daniel Belle.
The inherent problem with this musical is not in the performances, or the book, or the design or direction but in the actual libretto. None of the songs are particularly memorable – they must have laid in the bottom drawer of R&H’s desks for years gathering dust. Not an earworm anywhere. And none ever leapt from the stage to the canon of popular music (think of the standards from South Pacific and The Sound of Music, for openers!). Even though all numbers are perfectly delivered, it is a struggle to remember the title or melody of a single song. Somehow, despite the characterisation, design and virtuosity, the whole is less than the sum of its parts.
A dazzling, clever and visual feast with a message for today’s world. Little girls may dream of being a rags-to-riches princess but the message is clear that a kind heart and social activism are more important than appearance. As for the princes of society, they too have social obligations.
But it is unlikely you will come out humming any of the tunes.
Kate Stratford, Theatre Now
Photo Credit: Jeff Busby and Ben Fon
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