Glass Slipper? ✔
Pumpkin Carriage? ✔
Lousy step-family, prince and princess, big ol’ ball? ✔✔✔
But if you think you know the story of Rogers and Hammerstein’s Cinderella, think again. To quote my 63-year-old mother (who at the time of this review, we’re now 12 hours post leaving the theatre and she’s still telling me things she discovered and was awestruck by and enjoyed), “that was the best, most moving production I’ve ever seen. I literally got goosebumps and chills.” And she’s not wrong. If you think you’re coming to Baltimore Center Stage for your average fairytale evening, was that thought right out of your hair. Because while there is a fairytale— enchantment and wonder, music and dance, romance and heart— this is not your grandma’s Cinderella. This innovative, rejuvenating, wholly expressive performance of Cinderella (a co-production with ArtsCentric and Baltimore Center Stage) is an extraordinary theatrical extravaganza that blends a classic Rogers & Hammerstein tale from the musical theatre canon and a cultural journey of wonder, pride, and deeply satisfying meaningfulness. Directed by Kevin S. McAllister, with Musical Direction by Cedric D. Lyles, and Choreography by Shalyce Hemby, Cinderella is nothing short of a visually stunning, soul-enriching, joyful theatrical experience.
From the moment you step into the theatre, you are transported to a land far, far away. Scenic Designer Daniel Conway hints at the fact that this is Cinderella— there’s a light-up pumpkin page on the house floor nestled right in front of the stage. The overarching motif of the show is the African journey and this is well reflected in Conway’s scenic elements. Scenery doesn’t dominate the stage but serves to accentuate the narrative tale all around it. One can admire and marvel at the beauty and cleverness of construction when it comes to things like the Step-Family home hearth, which spins to reveal the royal throne room of the King and Queen, or the fully functional pumpkin-come-carriage when it makes its way onto the stage, but you never feel as if Conway’s work is trying to supersede what’s happening on the stage and in the story. It’s a strikingly powerful equilibrium between beauty and function Conway’s work pulls you into the narrative every step of the way.
Vibrant and vivacious costumes dominate this production by way of Costume Designer Larry Boggs. Tribal colors and patterns traditional to Africa in all their richly saturated glory are experienced every step of the way and it is gorgeously remarkable. Boggs’ costume work is a living rainbow that pulsates and breathes, spreading this frenetic sense of giddy celebration all throughout the performance. The outrageous dresses on the Step Sisters and Step Mother are jaw-dropping to behold, and I could easily spend an entire review talking about all the intricate detailing of these costumes— the glitter, the shimmer, the sparkle, the patterns, how perfectly tailored they are depending on their style and which actor is wearing them— it’s beyond lowly verbiage, really and truly. But the one thing that must be praised above all when it comes to the show’s sartorial selection and Boggs (and his team of costume builders) very polished skillset is ‘The Dress.’ Everyone who’s ever encountered Cinderella— be it Disney, R&H, Hans Christian Andersen, book, TV, film, what have you— they know all about the dress. I’ve been reviewing theatre for 12 years, I’ve been seeing for more than 30. I’ve been a part of it since I was 11 (my high school even did Cinderella, though it was shortly after I graduated.) And I have never seen a more impressive ‘transformation dress’ between what it looks like when it starts— this breathtaking and beautiful body-con piece— and what it becomes— a fantasy princess cupcake gown in layers and layers of reach blue and gold— it’s mind-blowing. And it’s on the more simplistic side of ‘unpin and spin’ for the physical moment that the Fairy Godmother works her magic but the audience shares this collective gasp and you can feel that it is resonating with every single person in that house. Rarely do you get those moments in theatre, even more so in a moment of spectacular joy and wonder. Larry Boggs, the actors on stage and the whole production team have achieved that unifying moment of theatrical bliss superbly.
There’s a lot that can be said about the wonder of all the design elements— Lighting Designer Max Doolittle is complementary in his illuminations, providing hints of mood and suggestions of emotion without overwhelming the stage but zinging in with special effects lighting when needed to enhance the magic of the overall theatrical experience. Properties Designer Antwan Hawkins Jr. also deserves a round of cheering and praise as he appears to be responsible for the design and creation of my six favorite sub-characters— Cinderella’s cat, Charlie, the visiting Dove (who I want to call Cooper apropos of nothing) and the adorable four little mice! Hawkins Jr. has crafted six basic stick-puppets but they become this humorous, loveable integrated portion of the show. (And the actors who are manipulating them and squeaking on behalf of them bring them to life in such a fun and giddy way that you can’t help but adore them.) Keep your eye out for the mice-shenanigans during “A Lovely Night” because it is one of just dozens of little moments that are truly hilarious and worthy of laughing out loud.
Director Kevin S. McAllister, Musical Director Cedric Lyles, and Choreography Shalyce Hemby have created a theatrical masterpiece that revitalizes a musical theatre chestnut in a relevant and heartfelt way. This isn’t just layering a concept on Cinderella. It’s fully reimagining it but with true integrity, honest heart, and clarified vision. At the top of the show (because it was opening night) the audience received the pleasure of being addressed by McAllister and he said something truly profound. He said (and I’m paraphrasing) “…is there a way we can do {Cinderella} in a way that nobody knows and yet answers questions about who we are as African Americans?” And that is exactly what you’re getting. The balance that McAllister, Lyles, and Hemby have created in this production— between the original story and music and lyrics as presented by Rogers and Hammerstein and their cultural exploration of African American existence and heritage through costumes, dance, dialect, and new orchestrations— is evocative and stunning.
Cedric Lyles in particular, as the show’s musical director, has unleashed his extraordinary musical genius in crafting new orchestrations to play for these musical numbers during the show. You get African beats, tribal and island style tempos and rhythms, African percussion instruments included in the playing (shoutout to Themba on African Percussion in the orchestra, and honestly to all the musicians under the direction of Lyles, including Alex Navarette on keyboards, Jonathan Colon on cello/hand percussion, Kevin Kearny Jr. on rums and Adrian Mitchell on trumpet), and highly stylized renditions that are custom-composed to fit the wondrous journey that McAllister and Hemby have created on the stage. The sheer genius of it all is that you can still readily recognize these songs. Much like my mother, it’s 12 hours later and I cannot stop thinking about it, marveling over the genius of how very different and unique and yet classic and recognizable the music was.
At the top of the evening McAllister also said “this cast is full of dance. They didn’t want to dance but they are.” And the audience chuckled warmly along with his joke. But there was no chuckling when the cast began to dance. There was thunderous applause, ovations, and something I can honestly say I’ve never experienced— a theatre wide pulse that was driving through the audience and ramping up my heartrate with thrill and excitement. The finale— a tribal wedding dance celebration— was easily a solid ten-minute dance block of nothing but glorious intensity which had the audience clapping and stomping along in rhythm, resulting in the exhilarating racing heartbeat and well-deserved, seemingly-unending standing ovation. Hemby’s choreography showcased not only a myriad of African styles, as well as some more traditional ‘waltz-ballroom’ moves, but her choreography displayed the wondrous talent contained within her ensemble. And there was joy. I keep coming back to that word and its such a simple word but I can’t find a better one because its raw and effervescent and there— frenetically and perpetually— all throughout this production, especially in Hemby’s choreography.
The entire cast is bursting with talent. Dancers and singers— and the singing is phenomenal. Heartfelt, powerful, it’s a soul-enriching experience, hands down— actors who emote from the heart in a truly expressive way, and the comedy! So much comedy! This another place where McAllister succeeds with flying colors in balance and equilibrium. The show is hilarious— between the antics with the Step Sisters and the naturally sassy Prince’s Stewart— there’s a great deal to bust-a-gut laughing over. But there’s also sincerity. The moments of raw honesty— particularly when the Step Mother is cutting Cinderella down— has the audience at the edge of their seats, crying out their sympathies for her. It’s astonishing the way the show can be so humorous and at times comedically unhinged and yet drop right back into those staunchly sincere and emotionally overwhelming moments. The Ensemble (Rowan Campbell, Angelo Harrington II, Patrick Leonardo Casimir, Lady Davonne, Niaja Diggs, Anwar Thomas, Deana Cruz-Conner, Heinz Adjakwah, Elijah Ali) is truly stupendous as they fill in all the scenes with their wonder and resplendence vocally, physically, and emotionally. Heinz Adjakwah in particular deserves a shout-out for all of his astonishing dance moves.
King Maximillian (Curtis McNeil) and Queen Constantina (Asia-Ligé Arnold) have exemplary chemistry with one another and when interacting with Prince Christopher. Both McNeil and Arnold are robed in some of the most majestic garments— magical transformation ballgown notwithstanding— featured in the entire production. And the level of sass and attitude feels so on point for these two characters, with Arnold’s character being the driving force when it comes to having a “no-nonsense” attitude and McNeil doing the kingly “what your mother said” response. The pair can cut a rug (stage-boards?) both at the ball and at the show’s grand finale.
At the very beginning of the show, the audience is graced with a vision— an angel? A dream? A Fairy Godmother? A beautiful gown and headdress, worn by an even more beautiful actor (at this performance Pam Ward) sweeps the audience up into her story. She narrates for us this tale of wonder and enchantment; she opens the audible storybook of Cinderella with her glorious voice and is featured again at the end of the performance. Taking up the shimmery, glimmery mantle of The Fairy Godmother (at this performance Jade Madden) you get a stunning reimagining of what magic and fairytales are all about. Both Madden and Ward have striking vocal quality, clarity, and beauty when they sing. “Impossible” is one of those moments where Madden’s voice truly sparkles and radiates with both beauty and grace and a little quirk of fun.
You get a convivial and earnest portrayal from everyone in the production but especially from Tyrell Stanley as Lionel, the Prince’s Stewart. Stanley’s character has a secret-bro-buddies handshake with the Prince and you can sense that this Stewart character genuinely cares for Prince Christopher in a mentoring, guiding fashion. He’s also got a strong voice with exceptionally articulate patter, put perfectly on display during “The Prince is Giving a Ball!” Watch Stanley’s facial expressions and body language at the ball as he attempts to fend off the various suitors, in particular the Stepmother (Kenyatta V. Hardison); it’s a comedic goldmine. Hardison embodies the role of the stepmother with the vigor of an erupting volcano. The entirety of this show is structured on balances; cultural exploration balanced with a traditionally existing musical theatre chestnut, iconic music balanced with rejuvenating new orchestrations that speak truth to the cultural vibrancy experienced in the show; humor and hilarity balanced with sincerity and intensity. Hardison definitely masters the latter in that category. Watching her eyeroll and nag at her daughters is truly funny, particularly when she displays just how fed up with them she is. But when she takes to cutting down Cinderella, attempting to put ‘not-my-real-daughter’ in her place, it’s brutal. It’s hard, cold, unrelenting loathing and the audience is wholly on-board. The way she can flips from humorous and irritated to irate and vicious is wild.
Attempting to steal the show (quite literally— there’s a hilarious comic voiceover at the top of the show, the traditional ‘no phones, no photography, etc.’ only it’s been hijacked by Grace, who insists the audience has arrived to see Grace: The Musical a story about a beautiful girl who cared for her poor, pitiful stepsister, Cinderella.) the Stepsisters are the comedic focal point of this theatrical experience. Joy (Malshauna Hamm) and Grace (Nikki Owens) are this dynamically hilarious duo that you can’t get enough of. Their outrageous, over-the-top outfits are perfectly matched to their outrageous, larger-than-life personalities. At one point these two crazy comic cads are IN the audience. With jumbo-sized Cinderella playbills (trying to hide their faces and towering headdresses) and they start bickering about not being able to overhear Cinderella and the Prince. WITH THE AUDIENCE. And then they launch into the iconic song “Stepsister’s Lament.” It’s robust and hearty and hilarious. These two are falling all over themselves with quirks and comedy. Hamm and Owens get into a battle at one point on stage— actually they’re frequently getting into spats, threatening to rumble, at one point one of them even shouts “you want a piece of this? Okay let’s go— two piece and a biscuit!”— but at this particular junction which I’m referring— they’re having a words battle? Arguing over whether poetry is beautiful or good or whatever. And Hamm and Owens go completely unhinged off the rails with hilarity— scooting all around the stage, making hilarious noises— one of them even takes a ‘phone call’ from Michael Jackson to strengthen her side of the argument. You could watch Hamm and Owens for DAYS with their comic antics. Especially when they’re falling all over each other and that exorbitant chaise or their physical disruptiveness at The Ball. The pair have mastered callback jokes, improvisational moments of one-upping each other, and are all around hysterical. And they sing superbly to boot!
A more perfect pairing of sincere innocence and kindhearted goodness could not be found outside of Nick Moore, as Prince Christopher, and Jaiden Nuako, as Cinderella. From their accidental meet-cute at the marketplace through to their reunion in the Stepfamily home with the shoe, Moore and Nuako take these two characters on a remarkable journey. Moore is the epitome of a young, hopeful man trapped in a royal lifestyle that he has no desire to experience. And when he sings you can hear this longing, this yearning gliding smoothly through his voice, fully expressing his emotions aloud. He’s kind and openly receptive to Cinderella; it’s glorious. The pair harmonize and unite in duet during “Ten Minutes Ago” as well as “Do I Love You?” and the duet-apart “Loneliness of Evening” with sublime sounds that give you true Broadway vibes.
As for Jaiden Nuako in the titular role, she is a majestic enchantment to behold, has extraordinary vocal capabilities and is earnest and present every step of her musical journey. There’s classic Rogers & Hammerstein ingenue thrown into her vocal mix as well as a more modern flare but both are blended with this serene sense of self and naïve wonder. It’s a truly felicitous sound, particularly when she’s exploring “My Own Little Corner” which becomes so fun and whimsical with all the puppet-creatures that you can’t help but giggle and adore the number as she sings. Nuako is overcome with unbridled joy when she starts singing “Do I Love You?” and its sensational. There are praises for miles to be sang about this performer, though I’d much prefer it if you went and heard her sing because she’s extraordinary in the role.
This Cinderella is like no Cinderella you’ve ever seen before or ever will see again. There are so many little moments— like the proud drag-queen in the woods whose foot definitely does not fit that tiny glass slipper— that stamp a hallmark on this production. It’s radiant; it’s innovative; it’s truly a theatrical experience of the highest caliber. The stroke of midnight is now renamed December 23rd 2023 (because that’s when this show closes) do not miss this glorious opportunity to experience wonder, magic, heart, and sheer, unadulterated joy with Cinderella (Enchanted Edition) at ArtsCentric & Baltimore Center Stage.
Running Time: Approximately 2 hours and 15 minutes with one intermission
Cinderella (Enchanted Edition) plays as an ArtsCentric & Baltimore Center Stage co-production through December 23rd 2023 in the Head Theatre (upstairs; 4th Floor) at Baltimore Center Stage— 700 North Calvert Street in Baltimore, MD. For tickets, please call the box office at 410-332-0033 or purchase them online.
