Review: REP's CINDERELLA Wins Hearts with Charming Performance and Visual Elegance

Manila, Philippines — Repertory Philippines (REP), through its Theater for Young Audiences, brings fresh energy and charm to a beloved fairy tale with Janet Yates Vogt and Mark Friedman's “Cinderella: The Tale of the Glass Slipper.” Co-directed by Joy Virata and Cara Barredo, this lighthearted, accessible production invites audiences of all ages to revisit a classic tale about kindness, perseverance, and believing in one's dreams.

Virata and Barredo approach the familiar material with a steady, capable hand, keeping the story moving at a smooth, pleasant pace. The narrative remains straightforward and engaging, following Cinderella's journey from endless household chores to a magical opportunity. While the direction does not reinvent the classic story, it succeeds in preserving its warmth and accessibility for families and younger viewers.

Rather than relying on elaborate stage trickery or grand automated transformations, the production leans into simple storytelling, well-timed transitions, and theatrical imagination. This streamlined approach gives the performers room to bring the story to life through characterization and interaction, prioritizing clarity and entertainment over sheer spectacle.

At the heart of the show is a cast that delivers polished, vibrant performances across both comedic and touching moments. The ensemble understands the material's playful spirit, populating the stage with exaggerated personalities and endearing archetypes that sustain a cheerful atmosphere.

Julia Santiago brings genuine warmth, resilience, and optimism to the title role. Rather than letting Cinderella's circumstances define her, Santiago highlights her enduring hope. Her portrayal captures a young woman who continues to dream despite her stepfamily's unfair treatment, making her easy to root for—especially for younger viewers.

As the Prince, Radson Flores, who starred in GMA’s “Voltes V: Legacy,” offers effortless charm and poise. He presents an approachable royal figure rather than a distant one, keeping the romance grounded within the production's lighthearted tone as the search for his bride unfolds.

The biggest laughs come from Cinderella's delightfully troublesome stepfamily. Pinky Marquez, Arielle Magno, and Paul Atienza bring exuberant comic sensibility to the wicked stepmother and outrageous stepsisters. Their over-the-top mannerisms, ridiculous demands, and sharp timing turn Cinderella's endless chores into top-tier comedy material. This theatrical exaggeration is particularly effective for young audiences. The stepfamily's antics establish clear story villains while keeping the conflict fun rather than frightening. Marquez, Magno, and Atienza relish their roles, creating a dynamic counterpoint to Cinderella's gentle disposition.

Jay Pangilinan adds another layer of fun as Putterman, Cinderella's loyal rat sidekick. Pangilinan brings endearing playfulness and levity to the stage, ensuring Cinderella never seems completely isolated. His animated energy is a clear win for younger theatergoers.

Mayen Cadd supplies a comforting presence and magical grace as the Fairy Godmother. Cadd grounds the story's turning point with reassuring warmth, establishing a sense of wonder around Cinderella's transformation without the need for grand visual effects. Her performance underscores the story's core message: a little help and a moment of belief can open unexpected doors.

Hades Kitane provides a steady supporting presence as Frederick, urging the Prince to find a wife and advancing the plot. Together, the cast forms a cohesive ensemble that balances humor, romance, and fairytale sentiment.

Visually, the costume design by Raven Ong is one of the production's standout features. The wardrobe embraces fantasy through rich colors and distinct, character-specific looks. The stepfamily's outlandish attire complements their exaggerated behavior; the Prince's regal dress fits his status; and Cinderella's ball gown serves as a satisfying, nonverbal marker of her transformation. The wardrobe provides much of the stage's visual enchantment and polish without requiring elaborate scenic machinery.

The musical score is pleasant and serviceable, effectively supporting the action and narrative momentum even if it doesn't stand out as the show's strongest element. The performances, costumes, and comedic beats ultimately leave a sharper impression than the score itself.

Modest in scale compared to lavish, mega-budget adaptations, REP's version succeeds by focusing on theatrical essentials. It proves that magic does not depend on extravagant transformations, but on engaging performances, imaginative visuals, and a well-told story.

The production serves as a welcoming introduction to live theater. The broad comedy and recognizable characters keep children engaged, while the timeless themes offer adults a nostalgic return to a classic. Ultimately, “Cinderella: The Tale of the Glass Slipper” is a charming, heartwarming production. While the music is secondary and the staging eschews massive visual effects, these choices do not diminish its overall appeal. REP's production retains the simple, timeless magic of its source material, reminding us that believing in a brighter future is always worth the journey.

“Cinderella: The Tale of the Glass Slipper” is part of REP’s 89th theater season under REP Theater for Young Audiences (RTYA). The production runs until December 13, 2026, at REP Eastwood Theater, 4th Floor, Citywalk 2, Eastwood City, Quezon City.

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