Rodgers + Hammerstein’s Cinderella

IF EVER there was a case of a reviewer’s reservations being swept away in one fell swoop then this is it.

I had always considered this to be a lesser work from the pen of Rodgers and Hammerstein, and when the announcement was made that this company was going to mount this work, I admittedly had some doubts as to the wisdom of the choice.  I need not have worried.

From the moment this production began with the beautiful Disneyesque projection of the Cinderella book opening, the entire audience were captivated by this magical world of a gentle and kind version of the age-old fairy-tale.

A long-time Rodgers and Hammerstein devotee, I was familiar with original score and the 1957 TV production which was written specifically for Julie Andrews. The live broadcast on 31 March 1957 was seen by more than 107 million people, a record I understand that is still held today. It was remade for TV with Lesley Ann Warren in 1965, and again in 1997 with Brandy as Cinderella and Whitney Huston as the Fairy Godmother.

It was the only television special that the pair wrote, and they would only write two more Broadway scores – Flower Drum Song the following year and The Sound of Music in 1959 – before Hammerstein passed away in 1960 at the age of 65.

After several stage versions, this particular incarnation reached Broadway in 2013 with a new script and some additional songs. Nominated for nine Tony awards – and winning one for costume design – there would be doubt in my mind that had this particular production been in the running for Broadway’s top prizes, then it would most certainly have been in the running. And that is praise indeed!

While the production could easily have gone down the oft-travelled road of semi-pantomime, director Brent Lammas (in his first foray into a major musical production) chose instead a firm but gentle path. There was nothing strident about his approach to this charming and tasteful show. His light touch imbued the entire production with an almost tangible joy. With many light, tender and amusing touches he thankfully avoided the corny to instead present us with a delightful old-fashioned family production which worked in every way.

Clearly his collaborative team were of like mind, because every element was delivered in an empathetic style totally in keeping with the gentility of the entire production. From Glenn Shield’s imaginative set, the colourful costume design by Jenni Ansic (and execution by Bronwyn Creedy and team) every element contributed empathetically.

The choreography by Jane Pirani and Kylie Ball in total keeping with the overall concept, and Odette Baxter’s orchestrations and delivery of the lengthy music score was expertly handled by the 23-piece orchestra, positioned for the most part out of sight at the rear of the stage.

Of special note must be the vocal direction from Tony Woodhouse and Sharon Ransom. The entire company was in fine voice, with the ensemble delivering the choral harmonies with a rare vocal discipline, effortlessness and strength.

Of course, all of us are all familiar with the Cinderella myth that has influenced successive generations where every girl deserves and will find her handsome prince. Just about every animated Disney film explores this theme, and the happily-ever-after notion is always the way these fairy-tales end. No one tells you that in real life, marriage is when the work begins – but finding that Prince Charming is the whole point and that is the fairy-tale.

There are some interesting (and amusing) twists to this version, but the key to the whole thing is the way the character of Cinderella is played. Here is a feisty, optimistic Cinderella who remains loyal and kind to the end. A far cry from her contribution as Wednesday in The Addams Family earlier this year, Maysa Flom gave a strong but understated performance in the title role, rightfully earning every ovation.

Traditionally, Prince Charming can be a thankless and colourless role, but in Sam Taylor’s hands it was anything but. He was just as a musical fairy-tale prince should be – tall, blonde, handsome, authoritative, and delivering his songs with a powerful tenor voice.

Sharon Ransom’s Fairy Godmother was a delight, as was Joel Abraham in the minor role as Jean-Michel the sometime revolutionary. Of special note were the two lead dancers, Isaiah de Hoog as the Fox and the particular athleticism of Connor de Campo as the Raccoon who are transformed into Cinderella’s two coach attendants.