Review: A Wonderfully Sung CINDERELLA for the Modern Age Comes to the National Theatre

While the sets are slightly scaled down from the 2013 Broadway production, the national tour of Richard Rodgers and Oscar Hammerstein's CINDERELLA is no less enchanting for the young and old alike. Featuring a new book by Douglas Carter Beane (Oscar Hammerstein II wrote the original book in the 1950s along with the lyrics), this CINDERELLA mashes the new with the familiar. Although at times the overall voice and tone of the musical is a bit too schizophrenic for my taste - at one moment a character could make a quip influenced by how we view democracy, socioeconomic status, and/or romantic relationships today, and the next could delve into familiar 'fairytale' speak - there is no doubt that the modern updates are likely to amuse a good portion of today's more jaded theatregoers and/or the younger crowd. At the same time, the revised musical fundamentally retains those qualities that those keen on good old-fashioned classic musicals are likely to enjoy. All of the notable songs are included, as well as others that Rodgers and Hammerstein wrote that weren't originally included in the original television special or subsequent stage or TV movie productions. A stellar cast of actor-singers, a first-rate orchestra, and solid technical elements are just some of the reasons why this national tour production - directed by Mark Brokaw - is a worthy one to attend during its brief stay at Washington DC's National Theatre.

CINDERELLA, of course, is the ultimate fairytale that underscores the need to believe in one's self and reinforces the idea that appearances can be deceiving. It also emphasizes how simple and ordinary of acts of kindness can prove catalysts for changing seemingly impossible circumstances. When we meet Ella (Kaitlyn Davidson), she's cheerfully dealing with the raw hand that she's been dealt. Her father has died, and her new stepmother (Madame, played by Blair Ross) has relegated Ella - usually referred to as Cinderella because of her usual proximity to the cinders in the small cottage - to the role of servant to herself and her two daughters Gabrielle (Kimberly Fauré) and Charlotte (Aymee Garcia). She finds friendship with creatures in the woodland, the awkward revolutionary Jean-Michel (David Andino), and crazy Marie (longtime Broadway mainstay Liz McCartney). A chance encounter with Prince Topher (Andy Huntington Jones) and his men in the woods allows our young heroine an opportunity to show the young royal a simple act of kindness. This would not be the only time they meet. As the Prince tries to figure out who he is and what kind of leader he wants to and should be, the pressure is on to find a wife. With the help of crazy Marie (who turns out to be more than just the crazy lady in the woods), Cinderella get the opportunity to go to the ball where the prince will choose his mate. She enchants the prince - who does not recognize her in her fancy dress (William Ivey Long) - more than any other girl in attendance, but suddenly disappears when the clock strikes twelve.

As the young prince seeks to find out more about the mysterious yet kind girl - and will stop at nothing until he finds her - he continues on his path of self-discovery, trying to separate himself from his father and others in powerful positions, and identifying the best way to be a leader and serve the citizenry. With a bit of help from Jean-Michel (who is pursuing his own unlikely relationship with Gabrielle), the Prince not only gets the girl, but facilitates change in the kingdom. When all stay true to their own selves and do the right things, nothing is impossible.

The national touring cast does well in conveying these messages through honest and engaging storytelling. Davidson is a worthy Cinderella. Her delicate appearance is contrasted with her fierce but kind personality and she sings every song with impeccable technique and emotion (favorites include "My Own Little Corner" as well as her duet with Ms. McCartney, "Impossible"). It's quite easy to see why the prince would fall in love with her. Andy Huntington Jones is not the strongest singer I've heard in the role of Prince Topher, but does have a nice tone that makes solo moments like in "Me, Who Am I?" and his various duets with Davidson ("Ten Minutes Ago," "Do I Love You Because You're Beautiful?," and "Ten Minutes Ago") quite pleasing to hear. As an actor, he excels as a man on the path of self-discovery, initially unsure, but ultimately gaining confidence.

Along with a stellar ensemble of triple threat performers - who not only sing well, but execute Josh Rhodes' classic yet modern choreography with precision - other principal cast members also make an impression. Most notable are Liz McCartney, Kimberly Fauré, and Aymee Garcia. It's always a pleasure to see Ms. McCartney onstage, but her take on Marie is one that rises above others I've seen, including in the Broadway production. Her quirky personality is put to good use with this role as is her versatile and strong voice. With the quick and seamless transition from crazy town outcast to fairy godmother (aided by William Ivey Long's fabulous costume), she does not lose sight of the characteristics that defined Marie previously. She effectively manages the two sides throughout the show, and her portrayal is more than just sharing her lovely voice. Fauré and Garcia are also appropriately quirky as Cinderella's stepsisters. Fauré is delightfully adorable and believable as the more conflicted and multidimensional sister (this helps when her and Ella form a bond), while Garcia steals the show with her comedic timing and strong presence. Her "Stepsister's Lament" is a masterclass in musical comedy.

The usual technical stars of the show are Ella and Marie's multiple transformations from everyday citizens to princess/fairy godmother. This is still the case with the national tour, although Cinderella's initial transition from wearing a simple frock to a white, sparkly ballgown is a bit clumsy and underwhelming. Anna Louizos' scenic design, Kenneth Posner's lighting design, and, as previously mentioned, Josh Rhodes' choreography also serve up a dose of wondrous enchantment. While I did miss the larger orchestra that was used on Broadway, the smaller tour orchestra plays Danny Troob's wonderful charts expertly and with energy under the direction of Valerie Gebert (David Chase is the musical supervisor).

Overall, the touring production is well worth the trip to the National for the whole family.

Running Time: 2 hours and 15 minutes, including one intermission.

Rodgers and Hammerstein's CINDERELLA plays the National Theatre - 1321 Pennsylvania Avenue, NW in Washington, DC - through November 29. For tickets, call 1-800-514-3849 or purchase them online.

Photo Credit: Kaitlyn Davidson and Andy Huntington Jones Pictured. By Carol Rosegg.

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