“There’s Music in You”: Levoy Theatre’s Cinderella is A Lovely Night

by Don Toal Jr.

Even the most timeless of tales deserve a glow-up.

That’s not to say they require a makeover to stay relevant.  But for stories that have endured for literal centuries–with the earliest examples of the “rags to riches” folk tale we now know as Cinderella dating all the way back to the days of Ancient Greece, as Strabo’s Rhodopis–approaching them with fresh eyes and a new perspective can do wonders for preserving their magic.

In this case, the makeover for Rodgers and Hammerstein’s fairy tale classic Cinderella (originally a 1957 made-for-TV Julie Andrews vehicle) came in the form of a 2013 book by Douglas Carter Beane.  Beane’s book, combined with Oscar Hammerstein II’s lyrics (and original book) and Richard Rodgers’ music, and a few additional songs found on the cutting room floor of R+H’s prolific body of work, resulted in a clever and charming revamp of the show which breathed new life into the story.

It is this revamped version that the Levoy Theatre has raised from the pumpkin patch for their most recent full-scale musical, running through November 16th at their historic space in downtown Millville.  The production team, led by Director/Scenic Designer Maura Mather-Jarve with Assistant Direction from Lea Weiner, crafts a healthy dose of theatre magic that audiences of all ages can enjoy.  Their direction focuses not only on the heart of the story children the world over have grown up with, but on having a ball with the larger-than-life–but still deeply human–personalities expanded upon by Beane’s book.   

David Taylor’s music direction ensures that the show’s most famous melodies are sung with grace and care, with this cast having a particular skill for dynamics and shaping that iconic classical sound.  Choreography by Mackenzie Newbury injects joy and enthusiasm into the proceedings–along with a fair amount of lively chaos–whether it be spinning ballroom couples or comedic chase sequences.  These elements all combine with the performers’ efforts to give a new but still distinctly familiar rendition of the tale.  

Of course, one defining feature of any version of Cinderella is the spectacle, and Producer Sean Pedrick works closely with Stage Manager/Props Master Donna Laning and Assistant Stage Manager Angela Ridgeway to keep those magic moments and scene changes running smoothly and seamlessly. Costumes by Lisa Ziegler with assistance from Madge Garrison and Deanna Laurella run the gamut between homespun peasant and extravagant ballgowns, all with strong color palettes, and the transformation gowns crucial to the story executed very well.  (You’ll know them when you see them.)  The outfits fit well alongside makeup, wigs and hair designed by Jordan Rambo, making a complete picture where every character is identifiable in the crowd at a glance.  Sound design by Carrie Ellis (with assistance from Angela Ridgeway) and Lighting design by Lindsay Stevens (with assistance from Master Electrician Al Caggiano) round out the technical presentation, crafting an idyllic sandbox for the performers to play in.

Folk tales and fairy tales are so well known to us that their characters are often embedded in our earliest memories, archetypes we carry around with us and compare to the performances we see of them.  In the case of this production, those archetypes are a picture-perfect match for the portrayals we are graced with.  From the moment she steps on stage, Jesica Counts embodies (Cinder)Ella with a radiant smile and gentle positivity, conveying her warmth and kindness effortlessly and with the utmost sincerity, without ever straying into a sickly saccharine princess pastiche.  Her solos throughout the show are delivered with powerful support and rich emotional depth that blends modern characterization with classic vocal style.  Her romantic counterpart Prince Topher (he of the long list of additional names) is portrayed with equal sincerity by Jim Cook, Jr.  Cook’s Topher is a sheltered but earnest man, eager to experience life outside his castle and heroic deeds but still naive to the ways of the wider world.  Cook and Counts’ chemistry is genuinely developed over the course of the show in a way that makes their whirlwind romance more believable, peppering in their own individual neuroses in equal measure.  More importantly, their voices blend together beautifully, filling the space with sweet sound and simple, heartfelt emotion.

The supporting cast who guides–or hinders–the two protagonists through their journey are no less developed, though these roles lean harder into the slightly self-aware, genre-savvy nature of the book.  Katie Elizabeth Hughes delivers some dynamite vocals as Ella’s fairy godmother Marie, with the Act Two motivational ballad “There’s Music in You” standing out as a late-show highlight sung with sincerity and raw power.  Marie also gets a fair number of punchlines which Hughes’ comedic chops are more than a match for, earning big laughs from the audience in attendance.  Also up for the comedy challenge is Nicolette Barr as the stepmother Madame, who relishes each opportunity to “ridicule” her daughters as well as any other characters within sniping distance.  She delivers each of her lines with a haughty, self-important attitude that fits the emotionally abusive parent archetype while still also somehow being comedically charming.  Sal Sanzo’s pompous regent Sebastian takes the reins of Topher’s kingdom (because the prince is an orphan in this version–one of the few changes that honestly brings it closer to Disney’s storytelling tropes) with a giddy glee for being the smartest person in the room (according to him), and a clipped, snooty delivery that lends itself perfectly to his easily ruffled feathers.  

Cinderella’s stepsisters have always been iconic entries into the ranks of fairy tale baddies, and these are no exception.  As the over-the-top Charlotte, Elena Marcato consistently slays gag after gag, giving her character the courage to speak her mind but never the wisdom to keep her thoughts to herself–or read the room.  Her “Stepsister’s Lament” shared with the female ensemble at the top of Act Two was a raucous display of ‘Always a Bridesmaid, Never a Bride’ energy.  Megan Panter’s Gabrielle provides a wonderful bookish contrast to Charlotte, observant but meek when it comes to seeking her truth.  Her friendship with Ella is an endearing addition to the story, but even better is her chemistry with the rebel firebrand Jean-Michel, played to the himbo hilt by James Jesberger.  Their scenes together are the textbook definition of ‘adorkable,’ and its a delight to see them play off each other.  Jesberger delivers his character’s lines with passion, purpose, and, when called for, powerful projection you can hear all the way across the moat.  Closing out the supporting cast, Steven Ciapanna’s Lord Pinkleton is a great comic foil, embracing his roles as herald and lackey with an expressive face and even more expressive vocals.  He hits that classic “The Prince is Giving a Ball” with both pomp and poise befitting the theatrics of the moment.

The wider world of Prince Topher’s kingdom is populated by a colorful cast of nobility and everyday townsfolk, making the setting feel much more lived-in.  The Dance Ensemble members–including Alexandra Rowe, Andrew Fralinger, Emily Acquesta, Guiseppe D’Argenio, Jebediah Eachus, Mya Pesantes, Nicandro D’Argenio, Olivia Caez, Zoey McKay, and Jeffrey Horsman–all do an admirable job of executing the sweeping choreo of the Prince’s masquerade ball with zeal and presence.  And the greater ensemble of Alair Diremigio, Angela Ridgeway, Brady Thompson, Collin Lungu, Denise Workman, Gabrielle Johnson, Hannah Lee DeFrates, Jacob Graves, Jordan Rambo, Kimberly Clayborn, Landyn Pollard, Lauren LaScala, Ofelia Chavez Ramirez, Ricky Thompson, Lori Thompson, Brayden McPherson, Cadence Laning, Chloe Kappeler, and Ky’mani Redfern have a great deal of fun inhabiting the variety of characters given to them, be they peasants, courtiers or knights.

Producing any work of theatre truly takes a village; art is nothing if not collaborative.  And in this case it takes an army: not only of the cast and production team and musicians, but of the tireless Crew, including: Patty Davis, Lori Thompson, Elinor Blew, Maddie Manno, Alex Manzo, Jason Reynolds, Julie Morell, and Lily Jarve, along with the Scenic Builders and Painters Sean Pedrick, Chris Watts, Angela Ridgeway, Herb Higbee, Jeannemarie Rambo, Terri DelVicario, and Lea Weiner.  The end result seen on stage–and you should go see it, before “midnight” on November 16th–is the combined efforts of countless individuals on and off stage.  There’s no lovelier magic than that.  You can purchase tickets here: https://www.etix.com/ticket/e/1047217/?partner_id=100&_gl=1*1px134v*_ga*MTk3Mjk5MTEzNS4xNzUxODk2MTgy*_ga_8JYMEL871C*czE3NjI5ODQ1MzYkbzEyJGcwJHQxNzYyOTg0NTM2JGo2MCRsMCRoMTI5MjgyODQyMw..