NODA Review: Cinderella Enchanted Edition
General
Rodgers and Hammerstein’s Cinderella has a complicated history, having started as a teleplay before
different stage versions and filmed remakes started to appear, each slightly different in terms of
songs and thematic focus. This version, inspired by the 1997 film, is generally considered a happy
medium between the 1957 original and Douglas Carter Beane’s heavily reworked Broadway
adaptation of 2013. It is intended to be both entertaining and socially conscious, written for a diverse
cast and giving a greater sense of agency to its lead female characters.
This production by Centre Stage absolutely succeeded on the entertainment front, and featured a
strong, diverse cast. While there were some excellent creative choices made, these could have been
pushed further, and there were greater opportunities to explore Ella’s personal journey.
Direction
This was a well-rehearsed piece that flowed like clockwork. Director Giusy Pappalardo clearly loves
the text and knows it well, and was ably assisted by Deborah Stanton. This production featured a very
traditional tone and, while this worked well, there were some artistic choices that could have been
implemented more consistently and with more confidence.
One of the best scenes was the opening sequence in the marketplace. There, every cast member on
stage had a path to follow, and were engaged with each other even when in the background. The
other major ensemble sequence, the scenes in the ballroom, was very successful in telling the story,
but the ensemble work wasn’t as defined. This scene is an example of where the ensemble could have
been engaged in more character-driven action, rather than movement designed to keep them out of
the way of the main plot.
The relationships between the characters were generally excellent – Joy and Grace’s scenes and songs
together were vibrant and funny, as were the interactions between Lionel and the Stepmother.
However, when it came to the solos and slower duets, much of the direction involved the performers
standing in one position and singing out to the audience. More action and interaction, even in the
more introspective scenes, would have lifted those numbers to the level of the rest of the show.
Choreography
Brendan Matthew and Deborah Stanton’s choreography was very entertaining, with highlights
including the mice-turned-horses as they pulled the pumpkin carriage during It’s Possible, and the
Gavotte, which carefully balanced dance with storytelling and comedy. It was suitably tailored to the
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range of dance talents across the company so that no one looked out of place. There were sections
where the spacing looked uneven, particularly in songs like Ten Minutes Ago where the relationship
between Ella and Chris took precedence over the ensemble dancing, but because of that focus it was
probably only noticed by those of us with seats higher up.
Musical Direction
Bringing together a 16-piece band, Musical Director Ben Levy ensured that the lush richness of
Richard Rodgers’ score was translated effectively into the Bridewell. This was potentially the largest
orchestra in that theatre since Centre Stage’s Proms, and it was absolutely worth it.
Vocally, the cast had also clearly been well coached, with some lovely harmonies and solo
performances. There were times, however, when lyrics were lost through a lack of projection, which
ideally would have been identified and addressed in rehearsal.
Players
It was fantastic to see such a diverse cast on stage in this production. Centre Stage brought together a
wealth of diverse talent, and this is to be commended and encouraged in future shows.
The role of Ella provides the opportunity for a wide range of interpretations, from the shy wallflower
who learns throughout the show to take control of her situation, to an already self-possessed young
woman who just needs a platform to assert herself, and everything in between. Priya Roy chose the
former path, portraying a very meek and mild Ella in the earlier scenes, who was pushed by the Fairy
Godmother to earn her help by stepping out of her comfort zone and gaining self-confidence. There
was an opportunity here to push that journey further, and for Ella to really come into her own as part
of the wider storytelling, but Priya’s excellent vocals and quiet resilience made for a strong and
interesting characterisation in its own right.
As Prince Christopher, Jacob Lloyd did well to match that energy. The result was a sweet pairing that
the audience couldn’t help but support. Jacob also took the opportunities to show a more assertive
side of Chris, particularly through the clashes with his parents, making for an interesting and rounded
character.
Sara Rajeswaran gives a powerhouse performance in any show she appears in, and this was no
exception. Her Fairy Godmother shone with charisma, particularly in her entrance to the ball, and her
rendition of It’s Possible closed Act 1 with a flourish. The audience was fortunate that There’s Music in
You was added in the development of this version, as it gave an opportunity for Sara to truly
showcase her voice.
The step-family, featuring Rosalind Parry as the imperious Stepmother, Caroline Steer as Joy and
Claire Brewin as Grace were an excellent comic trio. They were very successful in playing the truth of
the characters and letting the writing do the comedic work. As indicated earlier, Stepsisters’ Lament
was a highlight of the show, as were Rosalind’s interactions with Lionel. Caroline and Claire’s efforts in
ensuring their characters differed from each other were also appreciated, with Joy being presented as
dim, in contrast with a more spiteful Grace.
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Basil Zafiropoulos as King Maximillian and Michelle Lokot as Queen Constantina were no less
entertaining. They played off each other well and their duet, Boys and Girls Like You and Me, was
lovely. Rounding out the royal household, Zach Burns stole several scenes as Lionel. His arrival into
the marketplace for The Prince is Giving a Ball lifted the energy of that scene, and he maintained a
strong comic presence throughout the show.
The ensemble was engaging and entertaining, with some excellent characterisations, particularly in
the marketplace sequence. Rosie O’Rourke showed strong leadership as Dance Captain, and the way
the performers remained focused and interesting without distracting from the main story added
texture and depth to many of the scenes in which they featured.
Costumes
Individually, there was a lot to like about the costumes. Highlights included Ella’s tutu which unfurled
to transform into a ball gown, the regal attire of the royal family, and the sparkly tailcoats worn by the
mice after becoming horses.
The majority of the costumes indicated this was intended to be a fairytale-esque medieval setting, but
this did not seem to align with some of the other details especially as there were some far more
modern costumes. For me, the wardrobe didn’t feel as if there were a consistent vision guiding its
development especially as I noticed four people were listed in the Thanks To section for costumes but
no wardrobe manager. Perhaps this is something to think about for future productions.
Do please be aware of the consistency of time periods needed in ensemble pieces where many
costumes are on show, unless this is an obviously intentional decision for artistic reasons. Also
tempting as it may be for Grace to wear a modern, strappy top, this would not have been appropriate
in the era of the show.
Hair and makeup by Jobina Hardy was appropriate and stylish, fitting for the show and era. When a
show includes such excellent performances as Priya’s it is such a shame that long wisps of hair
obscured her expressions whenever she leant forward. As she spends a lot of the first act kneeling on
the floor, this made it difficult to see her at times, although this was remedied following a change of
hairstyle for the ball. While the Fairy Godmother’s wig was effective in standing out ethereally,
further brushing and styling may well have improved its appearance.
Set & Props
A simple but effective unit set was designed by Ilenia Onnis, comprising a raised level at the back
surrounded by curtains, a stylised tree on stage right and a beautifully painted portion of a cracked
clock face dominating the central downstage area (for which Scenic Artist Melissa Travers should be
congratulated). This setup served as the marketplace and ballroom, while a gauze curtain was drawn
when a more intimate space was needed, such as the family dining room.
Overall, this worked well, particularly when the more regal elements of the raised area were
surrounded by ensemble members to allow it to double as part of the marketplace and provide more
levels for use in those scenes. It was necessarily far back to allow the dance sequences to take place,
but at times this meant it risked diminishing the grand entrances it was intended to amplify,
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particularly as these took place through a gap in the curtain which, when opened, revealed the
backstage area. Additionally, leaving the top of the platform unpainted meant it looked more bare
than was envisaged, given that the majority of the audience in the Bridewell watches from above the
set.
Greater use could also have been made of the tree to justify its presence throughout the show. A tree
was referenced in the prologue as being linked to Ella’s mother, but not mentioned further. It also
made sense for it to be in the palace garden and possibly in the marketplace, but it wasn’t as major a
feature of the story as its prominent placement would suggest.
The props requirement for this show is not insignificant and Anna Trofimova was very successful in
bringing them together. The range of baskets, juggling balls and produce were essential in bringing
the marketplace to life, and the various scrolls and bags added character while telling the story.
Special mention must be made of the menagerie of household animals, which were created as hand
puppets for the dancers to act through.
Stage Management
It’s always a good time when you have creatives and performers on the stage management team, and
Tal Hewitt and Stephen Hewitt are both. This led to a slick and effective backstage operation, as well
as some very entertaining set changes. One thing to be careful of, though, is not to upstage the cast,
particularly when a gauze curtain is involved. There were at least two scenes where important action
was taking place downstage in front of the curtain, while the set changes were visibly happening in
character behind the curtain. That business could have happened during a more appropriate moment,
or be done more subtly.
Another note for the future is that once the house opens, the audience experience should also begin.
In this case there was a significant level of backstage talking, laughing and singing for quite a while,
during the entrance of the earlier audience members into an otherwise very quiet auditorium. Some
front of house music may have helped disguise this, but really it should be up to stage management to
inform and quieten the cast and crew.
Sound
Henry Whittaker and Adam Coppard are both highly proficient at creating an effective sound in the
Bridewell, and that was very much demonstrated through this production. They provided a balance
that allowed most of the dialogue and lyrics to be heard throughout, without the risk of anyone being
overpowered by the orchestra. However, this good balance only served to emphasise the moments
where cast members didn’t project sufficiently, as the amplification on some microphones was
necessarily pushed higher than would usually be the case. The fact that Henry and Adam were able to
pick up these voices without any unwanted side effects should be commended.
Lighting
The lighting design by Alok Kumar was rich and colourful, with plenty of blues and reds, adding to the
storybook feel of the show. While this was appropriate for the mood of the piece, particularly in the
ball and garden sequences, it also happened to be the colour palette of the costumes of many lead
characters, and of the drapery around the set. This led to the aesthetic of the piece as a whole feeling
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somewhat washed out. There were also a number of lighting cues that left performers in relative
darkness, and overall it seemed that more communication between the various production
departments was needed to remedy these issues during the tech process.
Marketing & Programme
Although there is no specific listing in the programme for Marketing or Programme Design, an
inference can be made that a lot of the responsibility for these areas lies with Ashley Meerlo
(rehearsal photography), Juan Lobo (headshot photography) and Juan Carlos Perez (graphic design
and illustration). Marketing was strong throughout the rehearsal process, particularly via Instagram
stories giving a glimpse into the rehearsal room, and some very entertaining forays into TikTok, which
puts Centre Stage in a more progressive space than many societies in terms of social media usage.
The programme was beautifully designed, with everything clearly laid out and visually pleasant to
read. Notes from the Chair and Director were well-written and provided valuable context. A cast and
crew list, in addition to the bios, would have made the credits clearer, particularly in terms of
production roles.
Front of House
As ever, the front of house team was welcoming and friendly. As mentioned above, some pre-show
and interval music in the auditorium would have been a nice touch. The ticking clock sound during the
interval, accompanied by a light moving around the on-stage clock face was a nice idea in principle,
but came across as more ominous than intended in practice.
NODA Website & Production Summary
This was a very sweet interpretation of the Rodgers and Hammerstein classic, with excellent
performances and a fantastic orchestra. While there are some opportunities to improve the technical
elements in future productions, that didn’t detract from the high level of entertainment value on
stage.
Matt Bentley
NODA London Regional Representative & Associate Representative District 1
City & Central London