Rodgers & Hammerstein's Cinderella
Rodgers & Hammerstein's Cinderella is a timeless musical that has captured the hearts of audiences for decades. Originally starring Julie Andrews, Cinderella (the only R&H musical written directly for television in 1957) was watched by more than 107 million viewers in the US alone. Another adaptation in 1965 featured Ginger Rogers as the stepmother. R&H's other musicals (Oklahoma!, The Sound of Music, South Pacific, Carousel and The King & I) were so successful that they overshadowed Cinderella, and its performance went into decline for many decades. Thankfully in 1997, a new bold and lavish television adaptation (with a budget of $12m, produced by Walt Disney Television and Whitney Houston) finally put this often-overlooked musical on the radar. Thanks to home media and streaming services it has become one of Disney's most beloved and watched musical specials of all time, receiving no less than twenty-five TV award nominations, winning three. Finally in 2013, the first complete stage version opened on Broadway (running 770 performances) and was nominated for nine Tony Awards. Since then, numerous professional productions worldwide (including an Australian tour in 2022) have had major success.
In 1972 Nova Music Theatre Inc performed their first production, the Australian Amateur premiere of Camelot. With much excitement, Nova's 50th Anniversary production, Cinderella, has been chosen to open the newly built $78m theatre, The Round. Award winning director Noel Browne (assisted by Wayne Robinson, marking his 40th Nova production) whilst adding their own unique interpretation and artistic flair, have remained true to the overall innocence of this beloved story. Stage design elements include a full size pumpkin carriage with horses, the Prince's throne, a large staircase, trees, a parlour piano, a giant pumpkin and Cinderella's home including her 'own little corner with her own little chair'. Seven massive LED screens turn a simple stage into a vibrant and dynamic environment featuring scenes such as the town square, a forest, the Palace, the ballroom (complete with massive chandeliers), baroque style gardens and a fireplace burning in Cinderella's kitchen. Digital magic is used to great effect when Cinderella rides a 'moving' pumpkin carriage to the ball, furthering the illusion of movement. The digital scenery in the ball scene is particularly grand, creating an atmosphere of luxury and splendor, transporting the audience into a fairytale world. Lighting designer Michael Zagarn (assisted by Branden Butler) have worked closely with set design, costumes, sound and choreography to create a cohesive and immersive production. Sound designer Mitchell Raymond has created a rich and well balanced sonic between the performers and orchestra.
Musical director John Clancy's grasp of Rodgers' demanding score, with its sophisticated orchestrations and complex harmonies is evident. Clancy (in his 15th production with Nova as MD) has inspired and guided the orchestra (made up of 14 exceptionally skilled musicians) toward achieving a lush and professional sound. Kudos to the orchestra! Choreographers Wayne Robinson and Julie Wright have helped bring the story to life combining various dance styles, storytelling techniques and visual elements. 'Waltz for a Ball' and 'The Prince is Giving a Ball' are highlights of the graceful, precise and occasionally comical movements used throughout the show. The inclusion of a ballet ensemble (Emily Bishop, Ruby Frostick, Ella Leyden, Emma Uphill & Stephanie Vawser) in the 'Waltz for a Ball' scene added an extra layer of elegance and beauty. The choreography in the 'The Wedding' scene was equally exquisite and made more picturesque by the use of flower covered garlands. The transformation scenes of both Cinderella and Marie/Fairy Godmother were elaborate and mesmerizing, receiving applause from the enthralled audience. The inclusion of fox and raccoon puppets in the forest scenes and their metamorphosis into the pumpkin carriage footmen was a nice surprise. 'The Pursuit' by the Prince and his guards (searching for Cinderella and her footmen) at the opening of Act Two was artfully orchestrated and had the audience in stitches!
Costumes, wigs and make-up by Felicity Hill are stunning, creating an ethereal and magical atmosphere. The choice of fabrics, textures and colour palettes show an intricate knowledge of each character and their historical context. Whether it is designing Cinderella's elaborate ball gown (embedded with jewels, beading and lacework), the stepmother and stepsisters gaudy dresses and wigs (with opulent frills, feathers and bows), the Prince's regal attire (in royal hues of blue and purple), the guards uniforms, the attire of the lower and upper class townspeople, Hill's designs are dazzling to say the least! The transformation gowns designed by Marie-Louise Wright are equally striking! In an instant Ella and Marie throw off their old dishevelled clothes and now appear in luxurious and elaborate ball gowns complete with accessories, to much audience applause! Cinderella's change (complete with new hairstyle, tiara and glass shoes) is so quick it took me a while to work out how it was even 'possible' in the few seconds it took to happen. This is such an engaging moment in the show. Careful, if you blink you'll miss it!
The nine leads are all well cast, delivering powerful solos, showcasing exceptional acting abilities and establishing a strong connection with the audience. Chloe Terry and Ju-Han Soon are superb as the two main protagonists, Ella and Prince Topher. Chloe's soaring and emotive vocals during 'In My Own Little Corner' and 'He Was Tall' were sung with an air of both longing and hope. Ju-Han's vocals on 'Me, Who Am I?' and 'Now Is The Time' were strong and earnest. Chloe and Ju-Han's alluring duets of 'Ten Minutes Ago', 'Loneliness of Evening' and 'Do I Love You Because You're Beautiful?' transported the audience to a world where everything else fades away. The captivating rhythm and heartfelt lyrics evoking a sense of longing and euphoria. Chloe and Ju-Han's naturalness and onstage chemistry contributes greatly to the show's success.
After many years hiatus to raise a family, soprano Meagan Gaffney returns to the stage in her Nova debut. As old Marie (the kind and wise woman) Meagan delivers a comical 'Fol de Rol', which had many of the children giggling. As Godmother, her hopeful and cheerful duet of 'Impossible' with Ella is an Act One showstopper! However, Meagan's many years of experience in opera shone even brighter in her lyrical rendering of 'There's Music in You'. For me this highly emotional and tender performance was one of the highlights of the entire musical. Matt Jakowenko (with 25 productions under his belt) is another standout as Jean-Michel, the activist who fights for social justice and equality in the kingdom. His professionalism during 'Now Is The Time' and other non-singing scenes was captivating. Matt's performance was magnetic and oozing with charisma.
Ellen Lane (in her third time being cast in a 'mother' role) portrays Madame Stepmother as a complex and multi-dimensional character. Nicole Rotenstein plays Gabrielle, the more kindhearted and loving stepsister who defies expectations and finds her own path to happiness. Alice Clapperton plays Charlotte, the clumsy, loud and somewhat dimwitted stepsister, intent on making everyone else's life a misery. Ellen, Nicole and Alice are a force to be reckoned with. Their hilarious renditions of 'Stepsisters Lament' and 'A Lovely Night' were crowd favourites in Act Two. These actresses possess a unique combination of comedic timing, improvisational skills, and the ability to bring their own unique characters to life.
JC La Fontaine, as Lord Chancellor Sebastian, brings years of performing experience across both television and theatre to his crucial role. Although appearing to shield Prince Topher from harm, he is more concerned in maintaining his own power. JC embodies the dubious character perfectly with his disquieting body language and well delivered comedic lines. Chris Stevenson personifies Lord Pinkleton as the well dressed, dignified butler and herald of the royal palace. Chris's velvety tenor voice during the comical 'The Prince is Giving a Ball' was smooth and polished. The extremely talented ensemble included Peter Bayliss, Pam Braithwaite, Michael Cliffe, Max Geddes, Riley Gurry, Nathan List, Aaron McBride, Matilda O'Riley and Ruby Taylor-Barnett.
Congratulations to Director Noel Browne and all the creative team from Nova Music Theatre Inc on both their impressive 50th anniversary production, and the first musical to grace their new performing space, The Round. With its colour, humour, drama, heartfelt ballads and rousing chorus numbers, Rodgers and Hammerstein's Cinderella is a 'lovely night' out for all ages!
Jonathan Cox
Photos: Gavin Andrew
Subscribe to our E-Newsletter, buy our latest print edition or find a Performing Arts book at Book Nook.