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Rodgers & Hammerstein's Cinderella

Author: JoyceHandbury

Information

Date
14th December 2024
Society
Inspirations Theatre Co
Venue
The Civic Hall, Dronfield
Type of Production
Musical
Director
Joshua Mason
Musical Director
Melanie Gilbert & Matthew Szadura
Choreographer
Emily Skill

Rodgers and Hammerstein’s Cinderella is a musical written for television and originally aired in 1957. The musical has been adapted for the stage in a number of versions and this one has been adapted by Tom Briggs from the Teleplay by Robert L. Freedman. It is based upon the French version of this classic fairy tale bringing new life into the story of a young woman forced into a life of servitude who dreams of, 

and achieves, a better life. 

The show opens with a Prologue which sets the scene and is delivered by the Fairy Godfather, and we see a young Cinderella and a tree is being planted in memory of her mother. Following the later death of her father the tree has now grown and we have a very ‘elaborate’ tree with a trunk depicting a grandfather clock complete with an operational face and showing the inner workings. This structure is on a ‘truck’ and is moved around the stage from time to time. Trucks are also used to great effect one depicting a garden with a white picket fence with pumpkins which when rotated, sets the scene for the palace and another is Cinderella’s kitchen complete with a wood-burner stove, a log basket, an oven, table and chairs and other associated kitchen items and when this is turned it became her bedroom. To help with the many scene changes the two differing trucks were placed, when needed, each using half of the stage which enabled a smooth and quick change of locations. The ‘pumpkin’ now an incredible and magnificent coach was to be pulled by the ‘mice’ now complete with horse masks and a ‘Cat’ Driver and ‘Dove’ Footman. The coach then carries a beautifully dressed Cinderella, off to the ball.

Cinderella was delightfully played by Olivia Thorne. She carried out the constant demands of her stepmother and stepsisters in a very quiet manner but showed a grim determination that blossomed with the help of her fairy Godmother. Her lovely singing voice came to the fore in her many songs, especially in the duets with the Prince, but I particularly loved her singing of ‘In My Own Little Corner’ which was so meaningfully delivered. Bernadette Dales was definitely the evil Stepmother as she so nastily vented her coldness, cruelty and prejudice towards Cinderella by constantly reminding her of her father’s death and telling her how lucky she was to be living with her and her stepsisters whilst showing an obsessive vanity for her own worth and that of her daughters. The stepsisters Grace, played by Rebecca Stott, and Joy, by Elisen Knowles were a great ‘double act’. Their angry jealous outbursts towards each other were sublime as was their meanness towards Cinderella and Joy’s laugh followed by a snort, which was supposed to endear her to the Prince, was just incredible. Charlotte Harrison excelled as the Fairy Godmother. She has a super powerful voice as evidenced in the Prologue and also in ‘Impossible’ along with Cinderella. She was most protective and kind towards Cinderella and the ‘transformation’ she so ‘magically engineered’ was so well achieved. Matthew Alsop was every inch, Prince Christopher. He exuded a royal demeanour with his charm and dashing ways, whilst bearing a lost and lonely inner self as he quite soulfully sang ‘The Sweetest Sounds’, a lovely duet with Cinderella and there was a lovely chemistry between them. He has a super singing voice and also is quite a ‘mover’! King Maximillian was well played by Mark Szadura as was Queen Constantina by Lauren Pinder, both displaying the differences in their characters splendidly. Josh Skeldon was first-rate as Lionel, the Prince’s Steward. He brought out the humour and comedic aspects of the role with great panache and had such a superior and debonair attitude. There were sixty-three members of the ensemble, some having minor named roles, and each and every one one of them played an invaluable part in the show, with such energy and enthusiasm. I must just mention however, Isabella Burrows, Sophie Stonham, Harriet McKenzie and Isabella Whitworth who were the most adorable mice, Elias Proctor as the most animated Charles the Cat and the beautiful Dove played by Phoebe Launt. There were so many superb scenes including the very busy cheese market scene and of course the very flamboyant Ball. The harmonious singing throughout, especially by the ensemble, was outstanding as was the most imaginative, stylised and innovative choreography, executed so wonderfully and so precisely by small groups and at times, by all of the whole company.

As already mentioned, the ‘sets’ and props were excellent, the costumes were fabulous and all were enhanced by an excellent lighting plot and sound effects. Many congratulations and all credit to Director Joshua Mason, to Musical Directors Melanie Gilbert and Matthew Szadura and to Choreographer Emily Skill for not only putting together such a great production but also, as in several scenes, when there were seventy-two cast members on the stage from all of the Company’s differing age groups, it is no mean feat to get co-ordination and discipline, for them all to come together and to sing and dance so brilliantly and in such harmonious accord. Again, congratulations to the whole Production Team, to everyone else involved and to the super cast for delivering a most entertaining and enjoyable show. Also, my special thanks to Joshua for his most warm welcome and hospitality.

 

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