Polish Your Glass Slippers

Rodgers & Hammerstein’s Cinderella

Well, I have to confess from the get-go that gifted and talented, Jeff Award-nominated director Amber Mak has made me fall in love with this musical, all over again. After seeing it on Broadway I wasn’t a fan. I was so disappointed at how respected playwright Douglas Carter Beane’s changed his new book for this charming Rodgers & Hammerstein musical. He totally reversed the tone of this beloved fairy tale. Beane’s revisions took a sweet, romantic story about a young girl finding her prince and injected it with a soapbox of causes. Cinderella and her friends spent much of the musical conversing about the need for social reform, environmental changes, equality and personal choice and freedom for women. Certainly, all of these themes should be explored, but not in a favorite fairy tale. There’s a time and place for everything. This once much-adored musical turned into a platform for changes in American society. To put it bluntly: the musical had lost its magic.   

But the much-accomplished Amber Mak has brought the enchantment back to this show. I’m not sure who to credit for  the trimming down the length of this production, but a big bravo! In cutting out some of the lengthy social commentary, Ms. Mak’s production totally makes sense and holds the attention of even the youngest theatergoer. Once stuffed with too many additional R&H songs and redundant preaching, this is the “Cinderella” of our dreams. Little girls will soon be polishing their glass slippers and heading to Oakbrook Terrace for this marvelous, magical musical production, just in time for the holidays. 

Charles Perrault’s beloved 17th century fairy tale became an animated Disney classic in 1950. Then, in 1957, CBS commissioned Richard Rodgers and Oscar Hammerstein to create a televised musical to star Julie Andrews. It drew a huge audience, and was revised ten years later, starring Lesley Ann Warren. Thirty years later, the TV musical was again recast with Brandy in the title role and Whitney Houston as the Fairy Godmother. The television screenplay was eventually adapted for the stage offering regional, educational and community theatres the opportunity to produce this R&H classic. Various other incarnations of the musical found their way to the stage, but when it became a possible Broadway vehicle in 2013, a decision was made to hire Tony nominee playwright Douglas Carter Beane to overhaul the script.

With so much critical acclaim for Beane’s previous theatrical work, such as “Xanadu” and “The Little Dog Laughed,” his new script for this familiar story was much anticipated. Ironically, this became the shakiest element of the new production. The playwright did provide some fresh spunk and sassiness in his updated dialogue and, despite several minor plot and character changes, the scullery maid still magically managed to meet and wed her prince charming. But all the political correctness in this new version felt out of place in a family fairy tale.

Fortunately, unlike that boring Broadway production, Drury Lane’s presentation glitters and glows. Once again the fairy tale comes alive full of beauty, charm and romance. The show is compact, exquisitely directed and brilliantly choreographed by Amber Mak, with expert musical direction by Jeff Award-winner, Carolyn Brady. This fast-paced, two-hour version, complete with intermission, features a topnotch young cast who are all eager to please. The technical magic is fresh and flows naturally out of the story. This enchanting, smooth-flowing production allows the audience, young and old, to revel once again in the romance of the story and music.

As Ella, Lissa deGuzman is a lovely, vocally and dramatically talented young actress who simply radiates girl power and a joie de vivre. Ms. deGuzman, whom I enjoyed on Broadway in both “King Kong” and “Aladdin,” sings like a meadowlark and dances like a dream. Her imaginative “In My Own Little Corner” simply delights with grace and style. The chemistry between Lissa and the boyishly handsome and talented Jeffrey Kinger, as Prince Topher, is palpable. Having played many of musical’s leading young roles nationwide, including in Chicago Lyric Opera’s production of “West Side Story,” Mr. Kringer brings a sincerity and innocence to the Prince. In Amber Mak’s glorious production, Cinderella actually looks like she’s having a really good time at the ball, and who could blame her? With songs like “Ten Minutes Ago” and “Do I Love You Because You’re Beautiful,” in addition to the lush dance music and accompaniment provided by the dazzling Drury Lane Orchestra, conducted by Karl Montzka, this a beautiful, beguiling ball.

Gisela Adisa makes a hilarious, stylish, but very catty, Stepmother. While her Madame is glamorous, she’s someone you simply don’t cross. Her “real daughters,” as she calls them, are wonderfully portrayed by the superb Alanna Lovely and Christine Mayland Perkins. A wonderful comedian, Ms. Lovely is excellent in her “Stepsister’s Lament,” joined by a company of shoe-waving court ladies. The always magnificent McKinley Carter is very impressive and as the maternal Crazy Marie. Seen at first as a homeless beggar woman, who Cinderella befriends, Ms. Carter becomes, in a burst of theatrical magic, the girl’s Fairy Godmother. Her lovely, trained voice makes “Impossible” one of the melodic treats of the evening. A Chicago favorite leading actor, handsome Jeff Parker makes a cynical Sebastian, Prince Topher’s controlling Prime Minister; and Drury Lane favorite, Ryan Michael Hamman, continually impresses as the singing town crier and Topher’s right-hand man, Lord Pinkleton.

Two of the unquestionable stars of this production are the breathtaking visuals. Riw Rakkulcon’s glamorous scenic design, along with the awesome costumes by masterful, multi Jeff Award-winning Theresa Ham truly stand out. Both the sets and costumes are glorious, colorful and convertible. Each costume is intricately styled in silk, satin and brocade. Then, just when the audience gets used to one look, some of the pieces magically transform into an entirely different costume. Rakkulcon’s extraordinary scenic design is textured and rich. Their sets include Cinderella’s house and garden, a magical forest, complete with two snuggly animal puppets by Jesse Mooney-Bullock, and a palace that’s both simple and sumptuous. The real magic occurs, however, when the clock hanging above the proscenium actually changes time, thanks to Anthony Churchill’s projections. Then, a pumpkin, a cage of mice, a fox and a raccoon breathtakingly transform into a golden coach, four horses, an awesome footman and coachman.

An absolutely awesome production that sports expert direction and choreography by the marvelous Amber Mak, a newly trimmed-down script that’s the perfect length for young theatergoers, a superb cast of talented triple-threats who totally impress, and the kind of technical support that makes jaws drop all await in Oakbrook. This family-friendly confection is a great choice for the holidays. The Drury Lane Theatre is all decked out in its elegant Christmas finery, creating photo ops in a Winter Wonderland before the performance. The favorite fairy tale of Cinderella and her Prince comes to life on the Drury Lane stage. Entire families can enjoy this musical spectacle of sight and sound, and mothers and daughters can reconnect with their inner princesses. Theatergoers of all ages will find enough happiness here to fill a dozen pair of glass slippers.

Highly Recommended

Reviewed by Colin Douglas

Presented November 8-January 7 by Drury Lane, 100 Drury Lane, Oakbrook Terrace, IL.

Tickets are available in person at the Drury Lane box office, by calling 630-530-0111 or by going to www.DruryLaneTheatre.com.

Additional information about this and other area shows may be found at www.theatreinchicago.com.