Jessie Grimaldo in Rodgers & Hammerstein's Cinderella
I’m going to be honest: I went to this assignment with a great deal of reservations. It had been a long week; I didn’t feel like driving up to Clinton, I don’t like the Cinderella story, and I don’t particularly care for Rodgers or Hammerstein. But the great thing about this gig is that I get to see shows I wouldn’t attend otherwise, and sometimes I see one that is a total surprise and total delight. And director Lara Tenckhoff’s production of Rodgers & Hammerstein's Cinderella is undoubtedly a gem, top to bottom.
If you haven’t heard the story before, Cinderella (Jessie Grimaldo) lives with her stepmother (Lindsey Grant) and two wicked stepsisters (Olivia Sauerberg and Molly Beth Blanchard) in a royal kingdom. The Prince (Trevor Gill-Snow) is hosting a ball in hopes of finding a wife and seemingly everyone but Cinderella receives an invitation. Then a fairy godmother (Aniya Thompson) grants her wish, and she's transported to the ball in a gorgeous dress and carriage. But the magic arbitrarily ends at midnight and Cinderella departs in a rush, leaving the Prince hopelessly in love, with only a single glass slipper as evidence of her existence.
While the large strokes of the story are all here, the book (recently updated by Douglas Carter Beane) does include many fun diversions from, and additions to, the original source material. Prince Christopher (I guess Charming was too on the nose?) is given more backstory and depth, as are his court of attendants. There’s his conniving assistant Sebastian (Phaul Fishman), who has been using the royal seal to approve some less-than-ideal laws. And there’s Gabrielle (Mary Beth Blanchard), the actually not-so-wicked stepsister, who has eyes for Jean-Michel (Mundo Ballejos), a revolutionary who wants better living conditions for the citizens of the kingdom. The poor have had their homes and property seized from them while those in power have turned a blind eye to their blight. The script strikes a nice balance between classic show tunes and modern sensibilities, blending the best of both worlds.
As far as show tunes go, this show is chock-full of some great ones. I’m writing this days after attending a Saturday performance of Cinderella and still have so many of its songs stuck in my head, with “In My Own Little Corner,” “Impossible,” and “Ten Minutes Ago” all performed to perfection here. But more on that later.
When you first enter the Showboat for this production, you’re greeted with the sounds of nature. Foliage is peppered throughout the theatre, and it almost looks like you’re stepping into an enchanted forest. Jess Ford’s stunning set design features floor to ceiling trees, with branches and leaves dangling over the stage. Designer Sally Tabaka's costumes are enchanting and strike a balance between modern and fantasy, with the world presented feeling similar to our own. There are not one, not two, but three onstage quick changes, with each one eliciting larger and larger gasps from the audience. The fact that a pair of denim overalls turned into a flowing white ball gown in front of my very eyes was magic, pure and simple. Tenckhoff’s staging and the choreography by Rebecca Frazier are simple but effective, with both artists finding a way to make an intimate stage feel like a sprawling ballroom.
I also want to dedicate a whole paragraph to the wonderful work done by music director Sabin Fisher. This is the best-sounding musical I’ve heard in years. The harmonies were resplendent and Grimaldo and Gill-Snow honestly sounded better than Disney royalty. And when the entire ensemble sings together? Forget about it: There’s not a single vocal slouch in the whole cast. I cannot overemphasize what an acoustic treat this production is.
I hate that I’m already creeping up on my word limit because I just want to keep piling on the praise. The entire cast excels here, and what I love even more is that they all look like they’re having fun. The 14-person ensemble feels at least twice as large due to all the energy being brought to the stage. Gill-Snow is about as charming a prince as you could ask for, with a smile the width of a football field. Grimaldo dazzles and brings a serene warmth to the role of Cinderella. Meanwhile, Grant, Fishman, and Sauerberg are all delectably mean-spirited as the villains. Grant, in particular, is so gleefully over the top as the stepmother that I couldn’t help but smile every time she made an entrance. And even though she isn’t given much to do, Thompson stands out every time she’s given the chance to shine.
In a first for me, I don’t have a single thing to criticize. Even if I wanted to nitpick (and I love nothing more), I couldn’t. The story and genre of Rodgers & Hammerstein's Cinderella aren’t my usual cup of tea, yet I still had a goofy grin on my face the entire evening. If you have the chance, head to Clinton to see a bit of magic.
Rodgers & Hammerstein's Cinderella runs at the Clinton Area Showboat Theatre (311 Riverview Drive, Clinton IA) through July 16, and more information and tickets are available by calling (563)242-6760 and visiting ClintonShowboat.org.
