Theater Review: Experience ‘Cinderella’ From A Fresh Perspective

 In 1952, Betty Bobp founded the Harwich Junior Theatre on the Old Exchange Hall’s second floor, and produced and directed “Cinderella” for the first production. In honor of the Theatre’s 75th birthday, Jenn Pina, the current artistic executive director of the theater, now called the Cape Cod Theatre Company/Harwich Junior Theatre, chose to honor the legacy of Bobp by starting the season with the same show, “Rodgers and Hammerstein’s Cinderella.” 

 Everyone is familiar with the fairy tale: Cinderella, the young girl forced into servitude by her evil stepmother, with the help of a fairy godmother eventually finds her prince and lives happily ever after. The Richard Rodgers (composer) and Oscar Hammerstein (lyricist-dramatist) musical version was first performed on television in 1957 with a then-unknown Julie Andrews and again in 1965 with Lesley Ann Warren. Many are not familiar with the 2013 Broadway version that includes Rodgers and Hammerstein's familiar music and songs but with a new book written by Douglas Carter Beane. This is the version CCTC/HJT director Jane Staab chose. 

 Opening night audiences did indeed notice a few updates and a new perspective to the fairy tale, but the essence of good conquering evil is still the main theme. As my theater companion noted, “It made two adults think and talk about Cinderella!" 

With the wealth of youthful talent at CCTC/HJT, Staab successfully cast this production with young actors who can readily be identified as triple threats, excelling in singing, dancing and acting. Grace Olah is an exquisite Cinderella. She brings the character to life with both elegance and spirited charm. One of my favorite songs from the productions is “In My Own Little Corner,” which she performed beautifully. 

 In my opinion, Cinderella’s stepmother and stepsisters are the juiciest roles in every version of the story. Laurel Conrad, who is also the show’s choreographer, portrays the stepmother in a snooty and intimidating way, while Perry Gill as the whiny and boisterous stepsister Charlotte is absolutely hilarious and a joy to watch throughout the show, especially on her number “Stepsister’s Lament.” Gabrielle, the other stepsister, is more sympathetic in the 2023 version, and Olivia Thompson is adorable in the role. 

 The chemistry between Prince Topher (Faye Viprino) and Cinderella, aka Ella, is tangible, and they duet sweetly on the lovely “Do I Love You Because You’re Beautiful?” It’s enjoyable to watch the orphaned prince mature, and Viprino accomplishes this effortlessly. Another difference in this interpretation of the story is that the Prince faces a challenging journey as he stands up to his Lord Chancellor, Sebastian (TJ O’Leary), who is seeking to enrich himself at the villagers' expense. O’Leary portrays Sebastian with diabolical energy 

 Other standout performances were Tyler Gula as Jean-Michel, a revolutionary who is constantly protesting and siding with the villagers and the poverty they’re facing; Gianna Casale as Marie, a crazy old woman who gathers what others throw away; and Shiloh Pabst as Lord Pinkleton who tries to keep order in the slowly collapsing regime. 

 There’s lots of singing and dancing, all with the wonderful music produced from a great band: Musical director Robert Wilder on piano, Hannah Chung (flute/alto flute), Pietro Ramos (cello) and Dan Yeager (trumpet/fugelhorn). The entire ensemble sounded fantastic as well. There's something deeply moving about the harmonious blend of young and old voices. They include Ander Maness, Seamus Sartin, Gabe Ferreira, Haley Spiewakowski, Sara Maxwell Dworsky, Triniece Clegg, Karen McPherson, Julian Scissons, Callie Juliano, Aria Nickerson, Zola Dhladhla, Zahara Dhladhla, Hailey Manchuk and Samantha Walker. The Prince has a dog called Buttercup, played by the well-behaved Handsome the Dog. 

 James P. Bryne’s brilliant set design easily conveyed the town square, a ballroom and more with props by Katy Taylor. We loved the projections behind the band of the moon and fireworks. The transformations of Marie to the Fairy Godmother (Casale shines on her number “There’s Music in You”) and Cinderella’s rags to ballgown were magical. Kudos to those behind the scenes (costume designers Robin McLaughlin and Cat Perry, director’s assistants Coco Kemp and Ollie Shaw, M. Berry’s lighting design and lightboard operator/stage manager Laura Froeschner, sound designer Quill Achino and soundboard operator Teddy Bonwit, spotlight operator Connor Perry and backstage crew Alex Ingraham) along with the onstage actors for making this so believable! Matt Kohler, tech director, and his assistant Fionn Pina Parker's talents were also evident. 

 The theater’s summer traditions continue: the Jesters welcome you and introduce each act, and the cast in costume greets the audience after the show. What fun to see Cinderella in her ballgown and glass slippers up close! The show is two hours long with a brief intermission and children of all ages will enjoy every second.