A Fairy Tale For All Time

The truth is that fairy tales DO come true - one person CAN open our eyes and change our thinking if it’s the right person. We only have to look at Ukraine and a humble clown turned world hero to see that (I’m hanging out for “Volod – The Musical”).

When Cinderella finally made it to Broadway in 2013, with additional songs from Rodgers and Hammerstein’s bottom desk drawer, it garnered an incredible 23 award nominations, including 9 Tony nominations, winning for its sumptuous costumes.

Now, after a two year delay due to the theatre crippling pandemic, it is finally our turn. John Frost and Opera Australia haven’t wavered over the two year wait, and the show finally opens in Melbourne at the Regent Theatre on May 20 before seasons in Brisbane and Sydney.

The cast is phenomenal. The fabulous Silvie Paladino will bring the fairy godmother to life. An exceptional performer with a voice to die for, she alone would be enough reason to buy a ticket, but then there is the amazing Todd McKenney, who surely IS the personification of Music Theatre in Australia, playing the new role of the baddie Sebastian, who has control over the Prince until Cinderella steps in. Todd has been a hero and leading man in so many musicals, but I must admit I LOVE him as a villain. He is deliciously devious. We can expect a fine acting performance from the renowned Tina Bursill, but of course all eyes will be on Ella and her prince. And what a delightful pairing this is, bringing together once more the stars of Aladdin, Ainsley Melham (as the Prince) and Shubshri Kandiah in the title role.

Certainly it’s a far cry from an Arabian Prince and Princess – which was near perfect casting for both - but these two exceptional young talents are determined to make these roles their own and are already deeply immersed in the folklore which has seen a French fairy tale become a renowned English pantomime and now an American musical.

It’s fair to say that despite some similarities (Ainsley is of Lebanese/Italian descent and Shubshri is proud of her Indian heritage) their path to stardom has been very different, so it was a delight to speak to both and feel their passion for their work and this new production.

“Some stories are just universal,” Shubshri says, “and the inner journey that Ella takes speaks to every girl, no matter where she comes from. To know yourself, to reach your full potential, that’s a promise each of us should make to ourselves.”

Ainsley, a WAAPA graduate, started life in Bathurst – hardly the capital of Australian theatre. But he started dancing at two and was winning competitions in a vey short time. His mother was his main supporter but his Dad, an upholsterer who was initially against Ainsley’s path, ended up sewing his costumes.

“My Mum decided on dance classes,” he says, “and once my Dad realised that I was serious about pursuing a life in theatre, he really became my most supportive fan.

“I was incredibly lucky,” he continues. “I really thought after WAAPA I would get a job in an ensemble for a big show and start to work my way up. I was very aware that it’s a long, hard slog and not everyone makes it, and I was prepared for that, as long as I could be on stage. But then I auditioned for Hi5, not expecting much, and I got the job. It just blew me away.”

For Ainsley it meant putting his Music Theatre dreams on hold, but there were huge benefits.

“My parents were worried about stability. Would I be able to make a living?” he explains, “and suddenly I was not only making a living, I was travelling the world, learning so much about performing, and fast-tracking my career. It was incredible.”

Ainsley not only secured the title role in Aladdin for Australia, but also played the role on Broadway and in the West End.

“I’m not being modest,” he says, “but it really is all about timing, and grabbing the opportunities when they come.”

Imagine the impact on a young performer of seeing his name in lights in Times Square.

“It was surreal,” Ainsley says, “and I was acutely aware that so many talented performers never make it to Broadway, no matter how hard they work, or how talented they are.”

Aladdin was followed by the title role in Pippin, and now Cinderella. “At least I won’t be playing the title role this time,” he jokes.

In the two year break, Ainsley pursued writing and is currently doing a degree in literature. But that’s going to have to wait once the show opens. His long term goal is to create a major role from scratch as part of the creative process.

“It would be great if it was in a show I had had a hand in writing,” he says, “but even to be in the room, and part of that creative team would be the ultimate challenge. And then to be the first to actually play that role - I think that’s the pinnacle in musical theatre.”

Shubshri was born in Perth and that should have made WAAPA a shoo in … but

“I auditioned for WAAPA three times but didn’t get in,” she says ruefully, “and maybe it’s a good thing in that I needed to be far from home to discover myself.”

Determined to pursue her dream, Shubshri travelled all the way to Brisbane and the Queensland Conservatorium of Music.

“I honestly believe it’s the quality of your training, not where you go,” she says adamantly. Brisbane is now home when she’s not working overseas.

We all know the stories of artists having to change their names to succeed and I asked her if anyone had ever suggested that she change her name to something more marquee-like and easier to pronounce.

“No, never. And I don’t think that I would ever do that, no matter what the pressure, just to make things easier for some people,” she tells me. “I’m quite happy to be called Shoob for short though. It is a different world now, but Silvie (Paladino) told me that when she was starting out that she was advised to change her name. Your name should not define who you are, or where you come from. As a child, I always felt different, even though I was Australian born. I was the only Indian girl in my school, and I wasn’t sure how I would fit in with the theatre scene, I just knew I had to try,” she explains. “I’m so proud of my ethnicity, and while we still don’t have enough ethnic diversity here, it actually works in my favour when I’m working in other parts of the world.”

Shubshri describes herself as a “one show at a time girl”.

“I don’t think about getting ‘star roles’. I just want to keep working and I love any character I’m playing,” she enthuses. “Even when I was just an extra in the opera I created a full back story and personality for this person in the background. Of course, this Cinderella is very different to the one I grew up hearing about, and that’s been so exciting. She starts out insecure but grows to realise that she has the power to change herself and her world. It’s a beautiful journey and I can totally identify with it. There really is something for everyone in this show.”

Everyone who is still young at heart!

Hopefully, that’s all of us!

For me, Cinderella will always mean standing in the wings of a theatre at age 8 or 9 watching my dad play Buttons. Sadly that role doesn’t exist any more, but I can’t wait to discover my inner child all over again with Ainsley and Shubshri leading the way.

Rodgers + Hammerstein’s Cinderella opened at Melbourne’s Regent Theatre on May 20. It then plays at the Lyric Theatre, QPAC from August 5, and the Sydney Lyric Theatre, The Star from October 23. www.cinderellamusical.com.au.