Midnight: The Cinderella Musical

Photographer: Pia Johnson.

A team of Australian creatives has penned a new musical interpretation of the fairy-tale Cinderella, which has opening with an all star cast at Melbourne's Comedy Theatre. David Spicer spoke to one of song writers, John Foreman, and leading lady Brianna Bishop about what makes this version unique.

There have been thousands of variations of Cinderella dating back to ancient Greece. A folk story emerged of an Egyptian servant who married the King after her sandal was plucked up by a bird and dropped into his lap.

This story was shaped into the 1697 French fairy tale Cendrillon, ou la petite pantoufle de verre (Cinderella, or the little glass slipper), that featured the familiar narrative of a mistreated youngest daughter, a supernatural helper, and a prince who falls in love with her.

Disney made it into a successful animated film in 1950 featuring mice, and songs ranging from ‘Bibbidi-Bobbidi-Boo’ to the sultry waltz ‘So This Is Love’, while Rodgers and Hammerstein’s updated edition recently toured Australia. Andrew Lloyd Webber’s Bad Cinderella seems to have been the exception, flopping on Broadway this year.

Rewind a little to seven years ago, when a group of Australian script writers had the idea that it was time to do their own update of the Cinderella story.

Photographer: Pia Johnson.

On the team of creatives was John Foreman, the debonair music director and composer who was first introduced to national television by the late Bert Newton.

“Most presentations start with Cinderella, her stepsisters and mother, and no explanation as to how we got to that point,” John told me.

“Now there are so many different combinations of families. It is not unusual to have a stepmother and have parents remarry.

“(In our version) we meet Cinderella (Ella) as a child, and see how her step-mum and step-sister came into the picture.

“She is developed into a well-rounded character who has a sense of humour, is feisty and wants to change the world on her own terms.”

A unique aspect of this adaptation is the inclusion of Cinderella’s father (played by Raphael Wong).

“This is an important element; we see how much she loves her father.

“When we meet Ella as a child, she has a strong heart and wants to change the world.”

The creative team includes writers Dean Murphy and Pip Mushin, with music and lyrics by John Foreman and Anthony Costanza. One song has also been written by Kate Miller-Heidke.

Photographer: Pia Johnson.

“(We’ve written) a combination of big Broadway showstoppers alongside some fun comedic moments. Dean and Pip have a fantastic sense of humour.”

For John Foreman this is his first foray into a full book musical.

“I have composed individual pop songs, but this is new territory for me. It is fascinating to put yourself in the head space of a character.

“People write pop songs from their own life experience. In this we have to put ourselves in the headspace of a character at a particular time. What they are feeling, what they might want to telegraph to the audience, what the audience knows but the character does not know.

“You have to make sure that the language used is consistent with the character, so you can’t have a character who speaks in a straightforward way suddenly using intricate rhymes. It all has to feel seamlessly linked to character.

“A good example is the song ‘Popular’ in Wicked. The words Glinda uses, and the style of melody feels perfect for that character.”

What song should audiences look out for in Midnight?

“Anthony has written a beautiful melody for ’Why Can’t I?’,” said John without hesitation.

“That line, ‘Why Can’t I?’ can be interpreted in two different ways – a frustrated person who is saying why aren’t I able to achieve what I want to achieve, and listening to the same lyric as a rhetorical statement - there is nothing stopping me doing this.”

Photographer: Pia Johnson.

If the musical itself asked the question - Why couldn’t I be seen on stage until now?  – the answer would be Covid.

Midnight was scheduled to open in 2020 and was pushed back like many productions in the industry.

“The knock-on effects have been quite profound from the backlog of shows. Audiences are now enjoying so many wonderful shows.”

The work has been written by Australian creatives, but the outlook is universal.

“It is not set in Australia, rather an imaginary kingdom. We are proud that it comprises newly composed music.”

The stage talent put together for the world premiere is considerable. It includes Shane Jacobson as the King, Lucy Durack as Ms Madrina, Verity Hunt-Ballard as Madame Bellington, Matt Lee as Andrei and Thomas McGuane as the Prince.

“We are thrilled at how enthusiastic great performers are in supporting new Australian work.”

In the lead is Brianna Bishop as Ella. Just a few days after completing the season of Hairspray in the major role of Amber Von Tussle, she is “riding an emotional roller coaster”, fulfilling her “dream to go from one job to the next”.

Photographer: Pia Johnson.

Brianna says both characters are strong women, describing Amber as an antagonist – opposing the existing order of segregation - whereas Ella is a protagonist for good.

“I am stepping into a world I am comfortable in, as Ella and I are similar. We are both introverts. I like my alone times to sit think and dream about what the future holds and what our place is in the world. Ella does that often, constantly thinking of how to be of service to others,” she said.

“(Like Ella) I grew up with hardship. Things were not always easy. We grew up quite poor. We were sometimes living on two dollars a week. Any refuge place where peace was found was nurtured and special. I grew up focussed on what really matters in this world. What matters is love, human connection and listening. Nothing else matters.

“Going through grief is another topic in the show - one that I am fully connected to, as I lost my Dad two years ago. Ella has lost her Mum and thinks she has lost her Dad too.

“She is someone I adore. She is a beautiful person who wants to do the great things, and has the tenacity, the gumption and gusto to do it on her own from her innate wisdom. It is special role to be stepping into.”

Photographer: Pia Johnson.

As well as being a good soul, Brianna says Ella is a comedian.

“With the hard topics there comes this lightness. What have we got at the end of the day? Each other and fun and happiness. This plays to my strength because I am a dag.”

Another trait Brianna Bishop shares with Ella is tenacity. After obtaining a diploma from NIDA, she spent two years as an entertainer on cruise ships.

“I packed up and left and ran away. It was cool. I went to many different countries. Any job offered I would take. I did it for two years, then came back because of Covid. Then I joined the cast of Chess as part of the ensemble for the national tour.

“I was a latecomer to the Hairspray auditions. They could not find an Amber. There I was. They also needed someone to be Rhonda Burchmore’s daughter and we are very similar.”

When I spoke to Brianna, she had just completed a photo shoot lying on pine leaves in a nice dress with no shoes on, which made her feel like a fairy.

Photographer: Clint Peloso

However, wearing a nice frock to a ball is not what she is most looking forward to, rather it is the songs she gets to sing.

“It is hard for ’Why Can’t I?’, which was just released, not to be a favourite. It is an epic triumphant song.”

But trumping that song for Brianna is ‘Without You’, composed by Kate Miller-Heidke.

“The way she writes is similar to the how I express myself when I am singing. The theme is about grief - what am I without you, where am I going now?

“It takes you to the depth of your core. To the roots of your being. What do you really want in this life? What are you going to with it?

“It is a beautiful song which will be very loved when it is released.”

Buy Tickets for Midnight at the Comedy Theatre, Melbourne here.

Read the Stage Whispers Review here.