Review: CINDERELLA Enchants at Memphis Orpheum

CINDERELLA is the only Rodgers and Hammerstein musical that was originally written for television. Its first performance was broadcast live on CBS on March 31, 1957 as a vehicle for Julie Andrews, who played the title role. It was subsequently remade for television twice. The 1965 version starred Lesley Ann Warren, and the 1997 one starred Brandy Norwood. The show wasn't brought to Broadway until 2013. I grew up with the TV version of this musical, but didn't see it on stage until the touring company came to Memphis.

When I entered The Memphis Orpheum and saw that the opening night audience included cute little girls in tiaras and satin dresses, I felt some apprehension. Cinderella is a beloved tale I have always had a problem with because it's based on the premise that a women should be beautiful, passive, and in need of a man. Minutes into this visually stunning, high-energy production my misgivings melted away, thanks to Douglas Carter Beane who penned a fresh, new book for the show.

In Beane's version, Cinderella doesn't merely dazzle the prince, she opens his eyes to the injustice in his kingdom. Kaitlyn Davidson plays the title role with nuanced grace and relatable ease. It's easy to feel invested in her disappointments, hopes and dreams. Her counterpart, Andy Huntington Jones, portrays handsome Prince Topher with earnest energy and adroit comic timing that give the expression "prince charming" a delightful new meaning. In this rendition of the story, love at first sight is replaced by a callow rapport that develops between Ella and her prince after their first encounter at a well in the woods. When they meet gain at the ball, Prince Topher is far more taken by Ella's mystique than by her physical appearance.

But the sensitive prince is no pushover. He battles a dragon and a menacing giant with aplomb. Those creatures, however, seem tamer than kittens in comparison to Paige Williams who plays Ella's very wicked stepmother. Ross' larger-than-life presence is so consistently menacing I half expected her to get boo's and hisses instead of applause at the curtain call. Her daughters are perfectly cast and played to the hilt. Aymee Garcia makes an outrageously ungainly Charlotte, and Audrey Cardwell a prudish and pedantic Gabrielle. A key component of Beane's rewrite is that Gabrielle proves a gentle soul, once her secret romance with a new character, Jean-Michel, a firebrand activist comes to light.

Though the addition of Jean-Michel is a not-so-subtle device to make the story relevant--sometimes to the point of being borderline didactic--this new character's presence, as well as the moralistic sub-plot that centers around him are easy to accept because Will Blum plays the role with so much heart. Equally well acted are Jean-Michel's nemeses, Sebastian played by Blake Hammond and Lord Pinkleton played by Chauncey Packer.

To further underscore the morality play woven into this version, a crazy, homeless woman named Marie transforms into a Fairy Godmother. Though statuesque Liz McCartney makes her entrance in a dowdy dress and ratty wig, it's easy to see she's a beauty incognito, so we must suspend our disbelief on that particular point. Her performance is fun and farcical, complete with angelic singing as she flies aloft.

Her own transformations--as well as the ones she magically bestows on Ella--occur before our eyes thanks to ingenious quick-change costumes by William Ivey Long. Beyond the trickery, this production is sartorially superb, most wonderfully so at the ball, a vision in jewel tones. Spellbinding scenic design by Anna Louizos and lighting by Ken Posner make Ella's world a place of fascination.

Directed by Mark Brokaw and choreographed by Josh Rhodes, this talented ensemble is rounded out by Chip Abbott, Adrian Baidoo, Summer Broyhill, Audrey Cardwell, Cody Davis, Rachel Fairbanks, Alexandra Frohlinger, Jordana Grolnick, Eric Anthony Johnson, Ben Lanham, Lauren Lukacek, Sean Seymour, Lauren Sprauge, Paige Williams, Tanner Ray Wilson, Thad Turner Wilson and John Yi.

Forever old, forever new, this storybook classic is a well-crafted romp that never takes itself too seriously. This producution of CINDERELLA is ideal for all audiences; lavish in every way, it overflows with heartwarming moments, endearing characters, and hearty laughs.

CINDERELLA will be at The Memphis Orpheum Theatre for a limited engagement from October 13 through 18, 2015. Tickets for are available for purchase online at the official Orpheum Theatre website, the Orpheum Box Office (901.525.3000), the ticket counter at The Booksellers at Laurelwood, and all Ticketmaster centers (901.743.ARTS). Group tickets are available by calling 901.529.4226.

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