Header Image: Shubshri Kandiah as Ella. Photo Credit: Jeff Busby
Whether having watched the iconic Disney animated feature film or one of the numerous film adaptations over the years, reading one of the novelised versions or seeing it performed on-stage as part of traditional theatre, musical or pantomime – few can say they don’t know the story of Cinderella. A classic tale from centuries ago, Cinderella has stood the test of time, morphed and moulded as the years have passed. Its tropes and concepts continue to influence culture to this day, and in some cases, impart modern morals in a fantasy world. An impoverished girl belittled by her step-family, the fairy godmother who grants her wish to attend a royal ball, the protagonist and an unnamed prince falling in love, and the lost glass slipper reuniting them again. These are characteristic elements that this newish Broadway production of Rodgers + Hammerstein’s Cinderella the Musical takes and freshens up, presenting a refreshing take on this classic.
There was this nagging voice in the back of my head before booking tickets to the show, telling me that this would be another musical aimed at a younger audience and that there would be little that would appeal to someone like me who hasn’t really enjoyed other youth-oriented musicals as of late such as Shrek the Musical and Charlie and the Chocolate Factory the Musical. It certainly had an appeal towards younger audiences, judging by the mostly family-oriented audience that was excited throughout the Sunday matinee I was attending. But from the first scene, you realise that this is not Cinderella as you know it. Instead, the narrative adds balance between the struggles of each protagonist – Ella (In this narrative, the actual name of Cinderella) as she faces oppression and uncertainty at the hands of ‘Madame’ (Her step-mother) while continuing to foster her kind and just personality, and Prince Topher, a naïve but well-meaning lad who is in the process of taking over rule of the kingdom, but who begins to discover the injustice amongst the kingdom he rules.
With new characters, changed characters and clear attempts at subverting audience expectations around plot progression, Rodgers + Hammerstein’s Cinderella the Musical thrives most around its story. Making an experience that is enjoyable for young and older audiences alike. This is supported by the lead cast, a reunion of sorts, with Shubshri Kandiah as Ella and Ainsley Melham as Prince Topher. Both performed opposite each other in Disney Theatrical Production’s Australian tour of Aladdin the Musical, and both have not only exceptional talent individually, but great chemistry together. They embody their characters well, with Kandiah adapting to every one of her character’s emotions well, and Melham having a youthful spark to her voice which works just as well as Prince Topher as it did with Aladdin.
Where I felt the production was lacking was in its pacing, not so much that content needed to be cut out, but that the end of the second act felt a wee bit rushed, and could have used an extra 20 minutes in its run-time to fully flesh things out. Furthermore, while there were some great songs throughout the musical, there were none that stands out in my mind a couple of days later, with much more of the appeal coming from the choreography and set design. Granted this is not necessarily a bad thing, but those wanting some musical earworms to remain with them for days afterwards may find themselves lacking.
It was clear from the outset that the cast were not only great choices for their roles but that they were clearly enjoying their time on stage. The amazing Debora Krizak and Nicholas Hammond served well in the more antagonistic roles of Madame and Sebastian respectively, while Bianca Bruce and Matilda Moran served well in their very distinct roles as the step-sister’s Charlotte and Gabrielle and Silvie Paladino was delightful as the Fairy Godmother. A highlight for me was Daniel Belle, serving as the town-crier Lord Pinkleton, whose few prominent roles on-stage were ones of pure delight. But again, the true stars of the stage were Shubshri Kandiah and Ainsley Melham in the lead roles, two still relatively young performers who have talent beyond their years.
While I would argue that productions by Crossroads Live Australia (Formerly The Gordon Frost Organisation) in the last year or two have had more minimalistic, digital-driven choices of set design (again, not necessarily a bad thing) – their collaborations with Opera Australia always promise something special, and Rodgers + Hammerstein’s Cinderella the Musical is no exception. Shifting primarily between five locales seamlessly (Ella’s Home Interior, Ella’s Home Exterior, Forest, Castle Interior and Ballroom), there is just enough variance in each effectively immerses you in the environment without jarring you out of the experience through transitions, or making it feel like the characters are in the same area with props. I also appreciated the sort of whimsical approach they took to horses in the musical, and the pumpkin carriage was stunning.
Unfortunately for those in Brisbane, you only have this week to catch Cinderella at QPAC before the production packs up and heads to the Sydney Lyric Theatre this October. But, if you have been uhm’ing and aah’ing about whether to make the trip to see it, Rodgers + Hammerstein’s Cinderella the Musical is a production that subverts expectations and delivers, I would argue, one of the best Cinderella experiences I have seen to date.
Information on ticket bookings for both Brisbane, Sydney and any other yet-to-be-announced seasons of Rodgers + Hammerstein’s Cinderella the Musical’s Australian tour can be found on its official website.
