It is an enchanting storybook and fairytale delight.
That is the gist of the Rodgers and Hammerstein production of “Cinderella,” currently playing at the Seacoast Repertory Theater.
There is simply no denying this updated and witty adaptation from Douglas Carter Beane (Xanadu and Sister Act), who has taken a few liberties with the classic story that takes it from its sugar-frosted traditional tale to a modern story with a satirical edge. His script combines sweetness, freshness, and a slew of comic moments, even throwing in a nod to “Les Misérables,” with a political revolution subplot.
Such a script in the hands of the Seacoast Rep team is a sure-fire hit. The audience is transported to a fairytale world, crafted with meticulous attention to detail. The set design, favoring woodsy settings over the standard cobblestoned kingdom, seamlessly shifts from Cinderella's humble kitchen to the opulent palace ballroom.
Taylor Fish as Cinderella captures the character's inherent kindness and resilience with grace, her engaging smile and youthful beauty give her a Disney Princess aura that sparkles. But in this rendition, Cinderella has a new groove; there is no passive damsel here. She boldly takes charge of her own destiny when she escapes the royal ball at the stroke of midnight by intentionally handing the glass slipper to the prince.
Sean Mullaney as the Prince is socially awkward at first, but when enchanted by love, he becomes charming and charismatic, adding a wonderful transition for the typically stoic character. Mullaney’s vocals are outstanding, reminding us that a voice is an eloquent instrument with extensive range and tender nuance. His voice has a velvety texture that makes him truly exceptional among Seacoast area performers.
The chemistry between Fish’s downtrodden ‘Ella and Mullaney’s lovestruck Prince is resoundingly genuine, portraying them as youngsters first in love. Fish’s enchanting "Ten Minutes Ago" duet with Mullaney, is magical with a slight “Romeo and Juliet” first kiss overtone to it. Cinderella’s signature number, “In My Own Little Corner,” immediately conveys the resilient sweetness of a girl ill-treated hoping for more in her life.
Other musical highpoints include "Now Is the Time," a wonderfully fun “Impossible,” and the lovers’ duet “Do I Love You Because You’re Beautiful?”
The Prince is portrayed as a naive puppet of Lord Chancellor Sebastian, played by a delightfully droll Jamie Bradley, balancing his Executive Director role with an onstage appearance. He is clearly having fun with a minor role that adds significantly to the plot.
It would not be Cinderella without the wicked stepmother and stepsisters provide much-needed comic relief, with their exaggerated antics.
Tia Marie Apicella is the sassy stepsister Charlotte, full of spunk and attitude with delightful comic one liners while Michelle Faria as Gabrielle is wonderfully cute in her secret love with the political activist Jean-Michel, played by Owen Thomas, who seeks justice for the poor in the kingdom.
Stephanie Barney gives a new take on the wicked stepmother portraying her as more foolish than wicked, more caustic than flighty.
Linette Miles as the Fairy Godmother is a vocal standout with power and grace, giving Cinderella the confidence to make her wildest dreams come true. I would love to see Miles featured in more Rep productions.
Without exception, the supporting cast is convincingly fairy tale delightful, with splendid work particularly by Robert Fabricio Armstrong in comic moments and vocals. (Taking no break, it would seem, from his role in the recent “The Wedding Singer” at the Rep.)
The orchestrations were full and lush, equaling that of a huge Broadway orchestra, a remarkable feat from a troupe of five music makers with William Asher as music director.
The choreography by Alyssa Dumas always dazzles and delights, particularly in the grand ballroom scene, where the dancers twirl in a mesmerizing display of elegance.
The costumes, in the hands of DW, are a showstopper. The show delivers with instant costume changes from rags to riches, and a parade of vibrant colored dresses, most notably the ball sequence, culminating in a fabulous wedding dress for the newly married princess.
Taking a break from her onstage performances, Alexandra Mullaney shows her talent in the director’s chair with a production that is everything you would want in a musical fairytale.
The show is vibrant and engaging, but it might not maintain the attention of a very young child. My arbitrary recommendation is that it could sustain for someone at least 12 years of age or for very engaging theater kids.
Tickets for the Seacoast Rep are at seacoastrep.org
Reader Reviews
New Hampshire Awards - Live Stats
Best Musical - Top 3
1.
THE PRODUCERS (The Rochester Opera House)
9.5% of votes
2.
SOMETHING ROTTEN! (The Barnstormers Theatre)
8% of votes
3.
THE WIZARD OF OZ (Rochester Opera House)
7.6% of votes
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