Rodgers +
Hammerstein’s Cinderella
Richard Rodgers (music), Oscar Hammerstein II (lyrics and
original book),
Douglas Carter Beane (new book)
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| Andy Huntington Jones as Prince Topher & Kaitlyn Davidson as Cinderella with Cast |
Once upon a time originated a now-centuries-old tale with
origins both East and West about a little girl in unfortunate, oppressive home
circumstances who suddenly finds justice, love, and fortune. Chinese, Italians, The Brothers Grimm, and
finally Walt Disney further evolved the story of the girl the English-speaking
world came to know as Cinderella; and in 1957, Richard Rodgers and Oscar
Hammerstein II performed their musical and lyrical magic to create a television
musical starring none-other than the young Julie Andrews. Fifty-six years later after more tries on the
small screen and on stages around the globe, their glorious music finally
arrived on Broadway, encased in a new book by Douglas Carter Beane.
Retaining the basic, rags-to-riches framework, the latest
version -- now entitled Rodgers +
Hammerstein’s Cinderella -- adds strong themes of fighting economic
injustice, a prince much more than just charming, and a to-be-princess who inspires
her prince into democratic action with her brains and bravery and not just her
beauty. Oh, and there are still the cute
forest animals with personality, the evil stepmother (but one now redeemable),
and a most-amazing fairy godmother. To
the SHN Orpheum stage comes a touring version of the 2013 Broadway hit still packed
with the Great White Way’s glitz and glamour, melody and majesty, and a few
visual tricks that are exciting and eye-popping.
After the kind of glorious Overture all fans of Richard
Rodgers expect, a brief prologue provides a glimpse of the story’s heroine
gathering bounty from the forested floor as she briefly establishes the theme
of the her own plight and that of the impoverished society around her. Looking at Nature’s surrounding beauty, Ella
(called “Cinder”-Ella by her bitter stepmother) sings in soft tenderness, “It
makes you wish that the world could be as lovely as it looks.” Kaitlyn Davidson’s sweet, innocent voice will
throughout the evening’s tale float with ease across a wide range of
perfect-pitch notes, will sparkle with intoned wit, and will reach emotional
heights with a non-distorted volume that grabs and holds attention.
That her own and her world’s answer for fairness may be closer
at hand than Ella imagines comes from the revised book’s new emphasis on Prince
Topher, who next appears in the same forest and formally opens the musical
singing (while also killing giant monsters and dragons) a self-probing “Me, Who
Am I?” He ponders in notes, “Me, who am
I? ... A dope who dreams like a lion but
wakes up like a lamb ... a jerk who wants to do what’s right but often does
what’s wrong.” Andy Huntington Jones brings
an initial, boyish, ‘aw-shucks’ manner with not a hint of royal cockiness as
well as a strong tenor voice that will later prove able both to soar in clear
volume and explore quiet heights in soft falsetto.
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| Blair Ross, Kimberly Faure, Lulu Picart & Kaitlyn Davidson |
The well-known storyline and its familiar characters play
out in wonderful ways with just enough added twists and introductions to bring new
intrigue in imaginative ways. Blair Ross
is the bitter stepmother, Madame -- cynical in voice, haughty in raised nose
and downcast eyes, and dismissive of anyone not her supposed, societal
equal. Lulu Picart is Step-sister
Charlotte whose hair flies out like great starched wings on either side of her
round, little head and who walks around and snorts more like a cowhand than a
lady-in-waiting in her mountains of ridiculously pink taffeta. Kimberly Faure is the taller Stepsister
Gabrielle, also totally silly in her pretzel-braided hair and over-done dresses
of orange, but who from breaks the expected mold to show sincere
sympathy for Ella (when Madame is not looking) and to harbor a secret love for
a local do-gooder and rabble-rouser, Jean-Michel (the fiery in spirit,
big-voiced in song, David Andino). Each
of Ella’s step-relatives does much to draw deserved laughs; but when they join
Ella in a wonderfully performed “A Lovely Night” as they all reminisce about
the Prince’s Ball (Ella, only imagining, of course), we begin to see that maybe
under all that make-up, wiggery, and puffed-up petticoats, each might also have
a heart and some soul.
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| Lauren Sprague & Kaitlyn Davidson |
The other must-have character is of course the Fairy
Godmother, in this version first appearing as the old, rag-enrobed Marie, a
beggar woman everyone but Ella thinks is crazy. Marie’s transforms into bigger-than-life
presence when she bursts forward and astounds the audience, drawing gasps and
applause, by turning from tattered hag to a splendidly attired goddess (a
magical moment soon to be repeated by Ella’s quick turn from simple smock into
all-white, gowned glory). As now
Godmother, Lauren Sprague’s stellar voice rings with clarity and near operatic
proportions in numbers like “There’s Music in You.” Together with Ella, they perform with
perfection two of the musical’s more iconic numbers, “Impossible” and “It’s
Possible.”
To a person, all in this large cast capture in their
performances large and small the imagination of the original fairytale and the
updated version Messieurs Rodgers, Hammerstein, and Beane grace on this
stage. Blake Hammond is terrific as the
sneaky, sleazy viceroy of the Prince who has designs how to control him and his
kingdom and who has no love for the young princess that Topher is so addled
over. Chauncey Packer takes the
relatively minor part of Lord Pinkleton and becomes a major vocal highlight of
the evening each time he announces in song the next ball or banquet. Large cast numbers, such as “The Prince Is
Giving a Ball,” are full sung harmony and well-done dance and peak in beauty of
music and movement in the climatic wedding and “Finale.”
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| Kaitlyn Davidson as Cinderella Is Whisked Away |
Most members of the original production team from New York
contribute to this spectacularly looking and sounding road version. Together, they acquired many 2013 Tony, Drama
Desk, and Outer Critics Circle nominations; and the Orpheum stage attests to
the deservedness. Director Mark Brokaw
maintains a great balance between nostalgic touches and nods to a new age and
generation and adds new enchantments that even a Disney would admire with
envy. William Ivey Long won the 2013
Tony for his sumptuous and color-rich costumes (and of course, glass slippers),
and their magnificence lives on in this tour while much fun also comes from
Paul Huntley’s wig designs. Anna Louizos
has kept the look of the original Broadway set with big forests, the pop-up
look of a storybook-like home and village, and a staircase just grand enough
for lost shoe and wedding march. And no
one can go away without memories of her diamond-sparkling, rotating carriage
and horses that suddenly appear from a lone pumpkin and a few scampering
animals. Josh Rhodes’ invigorating
choreography, Kenneth Posner’s lighting, and Nevin Steinberg’s sound all
provide finishing touches, with Danny Troob’s music direction of a fine, local
orchestra putting the icing on the wedding cake.
Young and old alike, first-timers and repeat-audience, will
find much to relish and revel in this touring Rodgers + Hammerstein’s Cinderella at SHN’s Orpheum. The main negative is that the visit is short,
with a closing coming only a few short days after the much-applauded,
much-enjoyed opening.
Rating: 5 E
Rodgers +
Hammerstein’s Cinderella continues through May 8, 2016 at the Orpheum
Theatre, 192 Market Street, San Francisco.
Tickets are available at Tickets
are available at https://www.shnsf.com.
Photo
Credit: Jeremy Daniel
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