Cinderella at the Ritz is a Fairy Tale Come True!
by M. Smith
The clock strikes twelve, it’s midnight; signifying the end of a day, but the beginning of the next, almost like a fairytale, one that you may know well. A tale of magic, love, and standing up for what you believe in awaits you as Rodgers & Hammerstein’s Cinderella has just opened at the Ritz! If you too are a fan of fairy tales like this author, the story of Cinderella is not one that is too unfamiliar to you. For audiences who are not familiar with the tale, Cinderella is a story that tells of a young girl who is under the care of her cruel stepmother and wishes for a different life, only then for her wish to come true as she is told of the news that the prince is having a ball! Will this be her happily ever after or will the magic wear off and Cinderella be fated to live under her stepmother’s cruelty forever? Find out by coming to see this production at the Ritz and find your answer! Directed and choreographed by Carl Randolph, his work alongside the cast and crew’s passion and dedication have culminated into a stunning story that truly makes the time fly and promises a spectacular time for you, family, and friends! Once you step into the space, you are greeted by the phenomenal work of William Bryant as the Set Designer and Jen Donsky as the Lighting Designer as they have transformed the Ritz’s space into the enchanting forest where our story begins. When you enter this magical world of Cinderella, you may never want to leave again after seeing the work and talent that has been put into this production!
As the lights and the music rise on the scene, audiences are greeted by the phenomenal talent of Liz Mattera as Ella. Once Mattera enters the space in her house maiden costume excellently designed by Costume Designer Megan Iafolla, you are immediately able to tell that Materra was meant to take on this role. As her joy and immense talent are immediately evident in her performance, it is infectious for the audience and beautifully sets the tone for the rest of this production. From her very first line, Mattera elegantly highlights the quintessential nature of fairy tales and how Ella is a dreamer who yearns for more in her life and the world around her. In the song, “Prologue” the combination of Mattera’s voice with the backing ensemble highlights the work of the cast and Music Director Steve Weber to perfectly introduce this story through powerful vocals. The beautiful surround sound of Mattera’s introductory song is brought to life by the fantastic sound team consisting of Sound Engineer Matthew Gallagher and Sound Technician Anna Rodefeld, who kept the levels and tracks at a balanced level to highlight the fantastic work that the cast has been putting into this show. As Mattera takes the stage as Ella, they highlight the overarching theme of dreams and pursuits as Ella wants the world to just be a little more kind and compassionate, which Mattera showcases to the audience in every moment that she is on stage. As she is dreaming for her own life and future, it is impossible for the audience to not do the same and hope all the best will come to Ella.
After audiences meet Ella, someone who has perceivably nothing but wishes for something; we are then greeted with Prince Topher, excellently portrayed by Zachary Moore. Topher is an orphaned prince desperately searching for himself and his ability to lead a kingdom. Whereas Mattera portrays someone who comes from little, Moore showcases Topher’s position of having everything but lost in terms of his identity and future. In Moore’s first song, “Me, Who Am I?” their acting choices beautifully showcase the internal turmoil that Topher battles with as he tries to prepare to become a king. In this “I want” song, audiences can see how Topher and Ella’s dreams in comparison, while different, are very similar in wanting to make the world a better place and the chance to make a difference. As he is accompanied by his guard, including advisor Sebastian, played by Sandhun Mendis, and Lord Pinkleton, played by Connor Twigg (who also designed wigs & make-up for this production!), it is clear that Topher is not one who is well-versed in the kingdoms’ happenings, but desperately wants to be. Instead, we see how Sebastian has taken advantage of the power he has in his position of helping raise Topher in order to control the kingdom how he sees fit. Mendis portrays this sneaky and deceptive character well as he showcases the way that Sebastian tries to claim that his actions are to help the prince, when audiences know that this is not the case. As we see this dynamic unfold, Moore expertly shows how Topher is dreaming of becoming the respected nobility that his parents once were.
After audiences are introduced to Ella and Topher, we then swiftly move past the pair’s initial meeting to being greeted by Jean Michel, played by Evan Harris. Jean Michel is a member of the townsfolk who dreams of getting the chance to speak to the prince and tell him how the land from the poor is being stolen as a result of Sebastian’s orders. While also being a dreamer, Harris’ depiction of Jean Michel highlights how this show encourages both the characters and audience alike to stand up for what they believe in. Harris acutely juggles both Jean Michel’s comedy and sense of justice without letting the balance of the two be thrown during their amazing performance. In their song, “The Prince is Giving a Ball/Now is the Time” accompanied by Sebastian and Lord Pinkleton, audiences see how Harris effectively depicts the importance of standing up for what is right even when there are other hands at work trying to keep you silent. Throughout this production, audiences are able to see how Jean Michel’s character is passionate about making this world a better place through action, and Harris wonderfully lifts this up in their performance and personification of this character.
As we gush over the characters that we have met thus far in the Ritz’s production of Cinderella, I would be remiss to not mention the kingdom and community that bring a life to this production that is breathtaking to behold. With a star-studded ensemble consisting of Shane Barrett, Corinne Brock*, Jessica Brotherton Newlin, Brian K. Herrick, Peter Hoefler*, Leslie Monaco*, Joseph Peachey*, and Jessica Plaskon* (* - making their Ritz Theatre debut!) this is a cast that you do not want to miss. The ensemble shines from the comedic stylings of Herrick’s one-liners and physicality that bring a light hearted energy to the ensemble moments (for example, trying on the glass slipper himself), to Newlin’s graceful execution of Director/Choreographer Carl Randolph and Assistant Choreographer Jenn Colleluori’s stunning set of leaps and turns to the more complicated ballet terminology that this reviewer is not familiar with. As you see this cast live yourselves, it is clear how this cast brings the theme of community to the forefront of the stage through their connection with each other and the story. On the stage, the ensemble’s engagement brings new impact points into the story and builds out this world in wonderfully meticulous ways. One of these examples is the game of “Ridicule” that Madame and Sebastian host at the ball, and how the ensemble truly brings the liveliness and vivacity to the scene. In a game that is all about calling out the flaws of your opponent, this phenomenal ensemble brings such a light to the show and the audience was laughing throughout its entirety. As audiences are aware of the importance and essential nature of the ensemble, this ensemble is one who does a splendid job of bringing a new level to this show and engaging the audience with their banter and joy on the stage.
As audiences excitedly await Prince Topher’s ball, we are introduced to an undercutting theme of characters wanting to be noticed. Much unlike the message in Mattera’s stunning rendition of “In My Own Little Corner,” where she elegantly portrays Ella’s wishes to be someone else but is only able to do so in her own area that is separate from her family’s cruelty, her stepsisters Charlotte and Gabrielle, played by Sara Viniar and Laura Duffy are taking up as much space as they can to garner any sort of notice. These two talented actors are showing how their characters are respectively fighting to be noticed by both Prince Topher as well as their mother Madame, cruelly played by Janet Wilkie. In Gabrielle’s example, we see Duffy (who is making their Ritz debut!) eloquently showcase how Gabrielle is trying to seek her mother’s approval even if she doesn’t agree with the way that her family treats Ella or their ideals. In these moments where Wilkie effectively highlights the unjust and crude treatment of Ella through her portrayal of Madame, she also effectively switches to a mother who truly cares for her daughters. In these moments, we see the internal struggle that Gabrielle faces as she is concerned for Ella, but also the self imposed complacency in order to garner her mother’s approval and not face ridicule. Duffy’s portrayal of Gabrielle is nothing short of beautiful and true, and audiences will truly be able to feel warmth as Gabrielle grows and goes on her own journey that soon leaves behind the need for approval from her mother. In contrast to looking for motherly approval, Charlotte, who is played by Viniar, is someone who is looking to be noticed truly by anyone in this society. In the song, “Stepsister’s Lament,” Viniar expertly brings in the idea of wanting to be noticed by a prince, but also conveys the undertone along with the accompanying ensemble about how they are typically gone unnoticed in this world as a whole. It is a fantastically interesting set of choices that Viniar makes in this production which makes the character of Charlotte stand out on stage in great ways. Furthermore, as we see Gabrielle become the potential object of the prince’s fancy, we also notice how Charlotte soon takes on a similar aspect of wanting acceptance and notice from their mother, whose sole focus is now Gabrielle. Viniar brings this shift to light through their amazing beats and physicality to this role, which is something that is evident to audiences regarding the physical work throughout this cast, which is truly a marvel to behold!
When we think of fairy tales and stories, kindness and love is a message that always holds true, and the Ritz’s production of Cinderella is no exception! We see numerous examples of kindness throughout this show, but the evident kindness and love in Mattera and Duffy’s performance is one that particularly stands out. In Ella’s first scene, we are introduced to the character of Marie, played by Jennifer Lear, an old woman who is typically called “Crazy Marie”. In spite of the way that other characters will treat Marie, Ella’s kindness shines through immediately as she moves to ensure that she is alright and advocated for. Lear immediately connects with Mattera on stage and that kindness is returned swiftly and elegantly through their physicality as well as their emotional connection. In addition to Ella’s interactions with Marie on stage, we also see how kind she is through her support of Jean Michel. Mattera brings the way that Ella is truly a supportive and fiercely loyal friend to the forefront of the show in stunning ways, and how they show that Ella is someone who is true to her word is beautiful to say the least. Mattera’s kindness goes hand-in-hand with Duffy’s as we see their relationship slowly shift from distant stepsisters at the beginning of this show to true close knit sisters by the end. In moments where Ella is facing cruelty, Duffy effortlessly shows the contradiction between Gabrielle and Madame & Charlotte. For example, when Ella is being made fun of for her nickname that Madame gave her of “Cinder-Ella” audiences clearly see the discomfort and pity that Gabrielle feels for Ella in Duffy’s portrayal. What is one of the most heartwarming moments of this show is when Ella and Gabrielle both help each other chase their dreams, and Mattera and Duffy’s performance highlights this moment perfectly. Upon deciding to help Ella go to the ball and Gabrielle to meet her true love, audiences see how Mattera and Duffy elegantly bring forth that sisterly relationship naturally on stage that truly makes Gabrielle’s character growth story skyrocket.
As this is a fairy tale, magic is always in the air, whether it is from Mattera and Moore’s connection on stage to the practical transformations that were designed and executed by this production’s phenomenal design team, the gasps were audible from every touch of magic that was present in this show. One particular example that stood out to this reviewer were the fantastical costume reveals that were seen in Ella’s transformation as well as Marie’s into the Fairy Godmother. Mattera and Lear both executed these transitions flawlessly alongside the elegant lighting execution from lighting board operator Brian Gensel, leading to cheers from the audience that soon filled the theatre to a deafening applause. Other moments where this production truly took on a magical quality was in the carriage transformation scene, where the pumpkin turned into a beautiful carriage, and Ella’s animal companions became horses and attendants, one of the many feats thanks to properties manager Tracy Jones. In this moment, Leslie Monaco and Jessica Plaskon effectively worked together while transforming into the two horses meant to lead the carriage. Their effortless movement into the choreography made this transformation come to life and brought magic to the stage in these moments. Another both magical and hilarious moment is where we see a chase scene between the raccoon and fox, who have been transformed into attendants, and the guards who to no avail try to capture them. In this moment we see the interaction between Corinne Brock (who plays the fox in this moment), Peter Hoefler (who plays the raccoon in this moment), Shane Barrett, Joseph Peachey, and Brian K. Herrick all play on the stage in a fantastical way. The moments of comedy are ones that this reviewer will not reveal so as to not spoil the show, but they are definitely ones that you do not want to miss out on! Finally, the magic also came in the form of the elegant way that the stage crew, consisting of Stage Manager Jared Iafolla, Assistant Stage Manager Sylvana Cusumano, and Stage Crew Members Tilly LuBrant, Gabe Slimm, and Zachary R. Taylor shifted the stage pieces to bring this world to life. Through a series of moving set pieces and hidden staircases with beautiful reveals, the stage management team is one that is well deserving of an applause at the work that it took to make these transitions as seamless as they were. All in all, this production of Cinderella at the Ritz is one that is in no short supply of magic, both on stage and off!
Finally, as every tale has its lessons that you are to take away from them, this production of Cinderella has a lesson for you. As Ella gains her confidence to talk with Prince Topher and have him accept her as she is, her Fairy Godmother says the line, “Now, you have something to believe in…yourself.” which resonated with this author and for many audience goers that night as the line rang throughout the audience as Lear’s voice and cadence of the line hit home. Just as audiences see how the character of Jean Michel is one that is standing up for what you believe in, we also learn how standing up for and believing in yourself is just as important. In the final moments of this production, audiences see Mattera come out with tears in their eyes, which led to this reviewer wiping away some of their own, as we see Ella finally realize that it was herself who she needed to believe in this entire time. We also see this in Moore’s stunning portrayal of Topher by the end of this show. Moore elegantly showcases the arc of how Topher shifts from someone who doesn’t believe in his abilities as a leader and a person, to someone who is willing to trust himself and others to be able to listen and grow. This is something that is particularly interesting to note because in this moment where Lear delivers this graceful line, the connection immediately goes to Ella, but also holds a significant truth for Topher and other characters as well. As audiences see this come to fruition for these characters, we see Mattera and Moore truly shine on this stage in stunningly beautiful ways, and getting the chance to see these two in their roles was truly an honor.
The last stroke of midnight has passed, and according to the story, the magic supposedly should wear off by this point. Unsurprisingly however, the magic you feel after attending this production is nowhere near gone especially after seeing a talented cast take the stage and take this show to a new level. An ensemble and supporting cast that brings vitality and love to the stage, a dedicated and incredibly talented production team, and two lead actors who truly were meant to play Prince Topher and Princess Cinderella (now king and queen), Cinderella at the Ritz is a once upon a time experience you don’t want to miss! Get your tickets now as they are going fast, so come see this happily ever after live at the Ritz! Cinderella runs Wednesdays (12/18) at 7:30 PM, Fridays (12/13, 12/20) at 8:00 PM, Saturdays (12/14) at 3:00 PM, Saturdays (12/7, 12/14, 12/21) at 8:00 PM, and Sundays (12/8, 12/15, 12/22) at 2:00 PM. Tickets can be purchased here or at the link below!
