The Slipper Almost Fits

Rodgers & Hammerstein’s Cinderella – Paramount Theater

Charles Perrault’s beloved 17th century fairy tale became a popular animated Disney film back in 1950. Then, in 1957, CBS commissioned the talented theatrical team of Rodgers and Hammerstein to create a television musical version of the story for Julie Andrews. It drew a huge audience and was remounted in 1967, this time starring Lesley Ann Warren. Thirty years later the musical was brought back to the small screen once again, with Brandy in the title role and featuring Whitney Houston as the Fairy Godmother. Because of its popularity the TV screenplay was adapted for the stage, thus providing regional, educational and community theatres the opportunity to produce this R&H musical. Various other incarnations of the musical found their way to the stage, but when it was decided that the show would make an excellent Broadway production in 2013, Tony nominee playwright Douglas Carter Beane was brought in to spruce up the script.

The libretto for Paramount’s production isn’t this more recent, contemporary-feeling Broadway revision. This version was adapted for the stage by Tom Briggs from Robert L. Freedman’s 1997 television presentation. While it’s infused with some cuteness for the kiddies, the story feels uncommonly bland. It could be called dreamy, but this version is just too laid-back to hold the attention of most young children, for whom the show is marketed. The libretto lacks any real excitement. Ironically, this is the shakiest element of this new production. There’s a bit of spunk and sassiness in the dialogue and the scullery maid still magically manages to meet and wed her prince charming. It’s just that in such a low key retelling, the fairy tale becomes more of a bedtime story. 

Partially to blame is Rodgers and Hammerstein’s gorgeous, but slow tempo score. Kory Danielson, the show’s accomplished Musical Director and orchestra Conductor, has guided her cast and musicians to a full, rich sound. But when a show opens with “The Sweetest Sounds,” a pretty but slow-moving ballad lifted from the musical, “No Strings,” it’s not going to grab the kids’ attention from the beginning. With the exception of a few scattered uptempo songs, like “The Prince is Giving a Ball,” “Impossible,” and the show’s most delightful number, the “Stepsisters’ Lament,” every musical number is in a slow waltz time. The result is a sluggish production that may struggle to impress the little ones.
What does delight is the technical magic in this production. Angela Weber Miller’s scenic work is framed by an intricate, braided wooden false proscenium, festooned with tiny lights and tree branches. Ms Miller also delivers a full-stage fairy tale village, a modest great room for Cinderella and her family and a ballroom framed with yards of drapery, floor-to-ceiling windows and a sweeping staircase. The stage offers plenty of room for all the large ensemble numbers. 

Jesse Gaffney’s detailed properties are the icing on the cake. They include pumpkins that magically light up and a glittering coach, complete with lighted horses and elegant footmen, that suddenly appears. It even moves around the stage carrying Cinderella to the ball, which is the most impressive sight in this show. There are puppet characters operated by the ensemble. And Cinderella’s rags enchantingly transform before our eyes into a lovely blue lace ballgown, courtesy of Theresa Ham’s exquisite costuming talent. Katie Cordts’ stunning wigs, hair and makeup designs complete the luxurious look of the entire show.   

Mikayla Renfrow is a fresh, beautiful young Cinderella. She radiates with optimism and joy, sings like a meadowlark and dances beautifully with absolute grace and style. In fact, her dancing skill is Ms. Renfrow’s strongest talent. The chemistry between Cinderella and her handsome Prince Christopher, who’s played with spirit by talented Markcus Blair, is sometimes questionable. Mr. Blair, however, is one of this production’s strengths. While the ensemble looked as if they were all having a really great time at the ball, Cinderella seemed to be walking and dancing through a dream. Perhaps that was the desired effect. But their lovely duets, “Ten Minutes Ago” and “Do I Love You Because You’re Beautiful,” are both beautifully performed.

Sarah Bockel makes a haughty, if often shrill, Stepmother. Her exaggerated, selfish characterization is occasionally funny, but is mostly she’s just an annoying force, with whom everyone else must reckon. Grace and Joy, the Stepmother’s “real daughters,” as she calls them, are played with stylized perfection by Jacquelyne Jones and Tiffany T. Taylor. Jerica Exum has a lovely voice and looks elegant as Cinderella’s Fairy Godmother. And one of Chicago’s favorite musical performers, the hilarious, multitalented Lorenzo Rush, Jr., makes a truly funny and well-sung Lionel, the Royal Herald and Prince Christopher’s personal attendant. 

Brenda Didier’s direction, while cheerful and conscientious gives the production the meticulous feel of a classical ballet. Ms. Didier’s lavish choreography, co-created with Tiffany Krause, is, as always, flawless and elegant. The dances are beautifully executed by her talented cast of professionals. The ensemble, in fact, offer so much joy and enthusiasm to the production that it becomes infectious. 

This is a sweet fairy tale for the holiday season, even if the script is more subdued than younger audiences might appreciate. But the slipper almost fits, and this new musical offering from Paramount Theatre will give theatergoers their money’s worth of entertainment. When Cinderella finally gets to the ball, wins her Prince and lives happily ever after, the happiness of this fairy tale will transport every little girl to the ball.

Recommended

Reviewed by Colin Douglas

Presented November 19-January 9 by Paramount Theatre, 23 E. Galena Blvd, Aurora, IL.

Tickets are available at the theatre box office, by calling (630) 896-6666, or by going to www.ParamountAurora.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.