Rodgers + Hammerstein’s Cinderella | Crossroads Live

The incredible costume design of this show can only distract so much from the contemporary feminist elephant in the room. Advertised as a “surprisingly contemporary take on the classic tale”*, this 2013 adaptation of Rogers + Hammerstein’s Cinderella fails to deliver any refreshing takes on the outdated traditional fairy tale. While there are certainly elements that are different from the well-known story—new characters, additional parties, expanded motivations for characters, and shoe things—the main problematic and patriarchal factors from the original plot remain intact.

Credit: Ben Fon. Cover image: Jeff Busby

The adapted book sees a development of Ella (Shubshri Kandiah) as a woman of the people, who plants the seed of change in her prince (Ainsley Melham). This interesting change could have given more substance to the lead character and provided her with a motivation for power. This sentiment, however, is tainted by the fact that Ella is supposedly oblivious to all the societal problems prior to the start of the musical and has them all mansplained to her by a new male character. This decision ultimately strips Ella of the autonomy and intelligence that she so deserves in a modern retelling of this traditional tale. Though some of the remaining changes—such as the development of a sympathetic and independent stepsister, Gabrielle (Matilda Moran)—were welcome additions to the book, they became background noise to some of the more problematic additions. For example, the painful fat-shaming of the other stepsister, Charlotte (Bianca Bruce).

Despite the clunky politics of the script, there were some things from this show that I loved. The music, though very traditional, was beautifully performed. All the musicians and performers were clearly incredibly talented and carried some challenging songs with grace and charm. Kandiah makes a wonderfully sweet Ella and absolutely captured my heart. Special shout out to Daniel Belle, who played Lord Pinkleton, whose operatic voice in ‘The Prince is Giving a Ball’ gave me chills.

Image: Jeff Busby

The true magic of this show, however, is in the costumes. I. Have. Never. Seen. Such. BEAUTIFUL. Costumes. On. Stage. They were vibrant, intricate, and enchanting. If there is any reason to see this show, it is for the costumes and the costume changes. Genuinely mind-blowing. Ella’s dress for the ball was a huge and puffy dazzling white dress that was the princess dress of Disney fans dreams. I can also appreciate the fact that dancing in a massive ball gown is not as easy as it looks.

The pacing of the show felt somewhat strange. There were obvious awkward moments when the actors gazed longingly at the mainly unresponsive audience as they waited for a big laugh or clap. The first act of the show felt very rushed. The second act of the production, however, was significantly better than the first in terms of pacing.

Image: Jeff Busby

Separately, Kandiah and Melham performed beautifully, showcasing their Disney-esque vocal techniques and skilfully energetic acting capabilities. Together, however, the two actors did not exhibit the radiating chemistry expected from these roles. Particularly when trying to sell the notion of ‘love at first sight’ I anticipated feeling lifted out of my seat by their exuberant infatuation. Their interactions with one another felt empty and static—so much so, that even my viewing companion assumed that they were obviously not going to end up together.

The absence of chemistry between the two leading characters was made up for through the enchanting interactions between Kandiah and her Fairy Godmother (Silvie Paladino). The best scenes in the show were, hands down, those between Kandiah and Paladino. Their timing and chemistry perfectly painted the pair in a natural—well, more magical, I suppose—relationship, akin to a maternal bond. I legit got goosebumps in one of the songs they did together! It probably helped that the two actresses’ scenes had the most exceptional costume changes I have ever seen in any musical. I am seriously going to lose sleep over how they managed hairstyle, dress, AND shoes in a snap change.

Overall, I have very mixed feelings about this show. I imagine that the issues that I had with the timing and chemistry could be chalked up to the still actors getting a feel for a new venue and new audience. The more fundamental problems I have with the script will remain intact. But for the costuming and costume changes alone, I think that this show would be a wonderful show for kids to get a glimpse of the magic of the theatre.

*Quote: https://cinderellamusical.com.au/about/

Cinderella plays at QPAC until the September 3.