Thank you, Alabama Shakespeare Festival -- keeping safety first with mask mandates, proof of a negative COVID test or COVID vaccination documentation, and digital programs only -- about the only infectious thing about the opening night production of Cinderella was the collective actor and audience enthusiasm and sheer joy of a live in-person performance after an 18-month hiatus. If only more public places would do the same.
Though there were a few technical glitches during the two-and-a-half-hour playing time [Artistic Director Rick Dildine announced that it was the first time the company had been able to run the entire show], the on-stage magic, melodic score sung by the gifted actors, dynamic choreography by Dell Howlett, stunning costumes by Lex Liang, evocative lighting by Alan Edwards, and clever storybook sets by William Boles were all brought to delightful fruition by Director Shelley Butler and Music Director Angela Steiner and her 15-piece pit orchestra.
The Rodgers and Hammerstein musical was given a 2013 updated script by Douglas Carter Beane, retaining the essence of the traditional story [the heroine is still put upon by her miserable step-family, her Fairy Godmother weaves her magic to enable Ella to go to the Prince's ball and find her true love, and yes, that glass slipper], but this is a Cinderella with a difference: she is, in the person of ASF newcomer Alexis Sims, a modern woman with a purpose -- to bring about needed social and political changes through kindness and concern for all citizens.
Ms. Sims' brightness and nuanced soprano commands every moment in the central role, and her Ella's modern approach to romance includes several challenges to Prince Topher [Andrew Brewer's naïveté gradually diminishes in a subtle performance] that ultimately teach him to find the courage is so desperately needs to stand up for himself [and for all the citizens of his kingdom] against the wiles of major domo Sebastian [Robert Mammana gives us a two-faced villain] who has been manipulating the Prince for much of his life, along with his duplicitous henchman Lord Pinkleton [Brian Klimowski].
Back at her home, of course, Ella has been reduced to servant-status and is harassed by her stepmother Madame [Anne L. Nathan depicts a person we love to hate, and she delivers her caustic lines with impeccable comic timing], and stepsisters Charlotte [Alexis Tidwell's aggressive attempts to win the Prince threaten to bring down the house], and Gabrielle [Lauren Elder turns out to be a confidante and co-conspirator to Ella]; Gabrielle falls for local revolutionary Jean-Michel [Pedro Ka'awaloa], whose frustrations in politics and love make a nice counterpoint to the Ella/Prince duo.
And then, there's Ann Arvia as the eccentric Marie who changes before our eyes into Ella's Fairy Godmother. Ms. Arvia's return to ASF is most welcome, as she shrewdly controls the destinies of most of the principal characters. -- As she weaves her magic transformations of animals, a pumpkin, and Ella into footmen, a golden coach, and an elegant lady, there's little doubt that all will be set aright by the end.
While the production values are top notch, the 14-strong ensemble of dancers/singers play a multitude of roles and impress us all with their dexterity, precision and energy in interpreting the show's many dance numbers.
Rodgers and Hammerstein's reminiscent score features such familiar songs as "Me: Who am I?", "The Prince is Giving a Ball", "In My Own Little Corner", "Impossible", "Ten Minutes Ago", and "There's Music in You", all of which contribute to the plot and character relationships. With committed energy from the principles and chorus, this is a win-win combination.
ASF's Season is off to a fine start with Cinderella, a show that promises to engage audiences of all ages with its infectious spirit of kindness, a magic that is so needed today.
