Simply charming: Metropolis’ ‘Cinderella’ features able singer-actors, first-rate orchestra
“Cinderella” — 3 stars
Revivals of “Cinderella” are like “L” trains pulling out of Rosemont station: If you miss one, you won’t have to wait long for another to come along.
Three suburban companies have staged the beloved Richard Rodgers and Oscar Hammerstein musical — which premiered on television in 1957 with Julie Andrews in the titular role — in as many years: Paramount Theatre in 2021, Drury Lane Theatre in 2023 and now the Metropolis Performing Arts Centre.
Paramount revived the “enchanted edition” adapted from the 1997 TV film starring Brandy Norwood, Whitney Houston, Whoopi Goldberg and Bernadette Peters. Metropolis, like Drury Lane, opted for the 2013 Broadway version of the show, which features a socially conscious book by Douglas Carter Beane (“Sister Act,” “Xanadu”) about the titular heroine and her prince, both of whom struggle with identity and their place in the world.
Director Johanna McKenzie Miller’s sweetly sung revival at Metropolis is absolutely charming, as evidenced by the response of young theatergoers at the matinee I attended who were clearly enchanted by the tale and its winsome star, Molly Bremer, a lovely singer in her Metropolis debut.
Bremer plays good-hearted Ella, friend to animals (kudos to Patrick McGuire and Tony Churchill’s puppets) and marginalized people, who serves as housekeeper and maid to her social-climbing stepmother Madame (Mitzi Smith), who’s desperate to maintain (better yet, improve) her social standing, which falls somewhere between “upper middle-class and the lower upper-class.”
To that end, Madame searches for suitable (read wealthy) husbands for her daughters Gabrielle (Maura Fawley) and Charlotte (Abbey Loria, a strong singer with a flair for comedy she uses to fine effect in the delicious “Stepsister’s Lament”).
An opportunity presents itself when Sebastian (Peter Briceno Gertas), chancellor to Prince Topher (Patrick Johnson), convinces the unenthusiastic royal to host a ball for the purpose of finding a wife. The party is meant to distract Topher from looking too closely into the affairs of state and uncovering the oppressive policies his counselor has enacted, policies opposed by Ella’s good friend and social activist Jean-Michel (nice work by an earnest Luke Nowakowski), who succeeds in enlisting Fawley’s Gabrielle in his efforts.
Ella isn’t invited to the ball, but she attends anyway with help from fairy godmother Marie (the nicely maternal Rachel Carreras) who flicks her wand and transforms Ella from urchin to princess.
The rest of the musical unfolds according to the Brothers Grimm tale, animated by a social justice/anti-classism message.
I maintain that Prince Topher’s quarter-life crisis marked by his reluctance to assume his royal birthright takes up too much of the narrative. But it’s worth it for gems like “In My Own Little Corner,” the buoyant “It’s Possible” and the enchanting “Ten Minutes Ago,” which I hummed for days after the performance.
Much of the credit rests with director/conductor Aaron Kaplan and his 12-person orchestra. One of the best Metropolis instrumental ensembles in recent memory, they are ideal accompanists for McKenzie Miller’s capable cast.
Also deserving mention is Mandy Modic’s sprightly choreography and Lauren M. Nichols’ dreamy, uncluttered set featuring a verdant backdrop and airy, graceful arches. As fairy tale milieus, it is ideally simple. The same is true of Ella’s gilded carriage, whose simple elegance makes it suitable transportation for a soon-to-be princess.
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Location: Metropolis Performing Arts Centre, 111 W. Campbell St., Arlington Heights, (847) 577-2121, metropolisarts.com
Showtimes: 7:30 p.m. Thursday and Friday; 2 and 7:30 p.m. Saturday; 2 p.m. Sunday through Oct. 20
Running time: About 2 hours, 10 minutes, with intermission
Tickets: $49, $45, $24 for students
Parking: Nearby garage and street parking
Rating: For all audiences