Wednesday, Nov. 27, 2002 | 8:31 a.m.
An outstanding cast of actors/singers/dancers creates a refreshing, sparkling production of Rodgers and Hammerstein's "Cinderella" at Judy Bayley Theatre at the University of Nevada, Las Vegas.
Running weekends through Dec. 8, the musical is presented by Nevada Conservatory Theatre's University Company.
By moving the setting to the art deco 1920s-1930s, director Robert Brewer eliminates the fantasy flummery and modernizes the classic without losing any of its charm. Reyna Martinez's costumes are fantastic: glamorous, wild, formal, elegant, freaky -- perfect!
Scenic designer Joe Varga works miracles with bright, movable sets. His padded blue satin boudoir for the king and queen and the ballroom Erte-style decor are marvelous. By rotating the rolling set pieces, exteriors of town square houses become the interior of Cinderella's home, complete with "burning" fireplace.
Excellent casting in all roles and synergistic rapport between characters makes the show a success. Celeste Lero is a delightful, pretty Cinderella. She has a lilting, versatile soprano voice that is clear as a bell. She's an ideal contrast to her stepmother and two stepsisters. The four women performing together create some of the brightest and most entertaining numbers of the play.
Maggie Chapin is the stepmother. Kashena Sampson is Portia, the portly stepsister, and Amme Milton is Joy, the "twiggie" stepsister. Their over-the-top antics, comic timing, facial expressions and overall performances are tops ... and they can sing.
Their clothes are color-coded throughout the show. Stepmom wears black and gold, including tiers of 18-inch gold fringe on her ball dress. Portia is in hot pink. When she dances, the wired fur flounce of her skirt bobs up and down. Joy wears an outrageous slinky orange gown, feathered hat, boa -- the works.
The quartet sing two songs that open Act II, "When You're Driving Through the Moonlight" and "A Lovely Night." They describe the countryside around the palace and the ball. Cinderella is supposedly imagining the scene, while the other three women rely on reality. It's a gem of contrasts.
Lero and the prince, Steve Booth, are also well matched. Booth looks his part -- tall, blond, affable, somewhat introspective and kind. His mellow tenor is smooth, effortless and expressive. His acting has an easy air. The pair are believable and attractive.
Another great twosome are the king and queen, played by Jonathan E. Shultz and Susanne Burns, respectively. He's somewhat bumbling. She worries a lot. Both have wonderful voices.
They are also a good comedy team. He's too fat for his tux pants, and she childes him for overeating. When chefs arrive to talk about food for the ball, he hides the gap in the front of his trousers with a pillow. When he gestures with the pillow, his pants fall down. His gold-embroidered, red-satin, super-long boxer shorts are a hoot.
Also as part of the scene, the kitchen crew dances with trays of menu possibilities, a sprightly diversion (the king runs a finger through the icing of a cake). There's another dance sequence, which is, unfortunately, a distracting intrusion, when some shadowy figures cavort while Cinderella is singing, "In My Own Little Corner," dreaming what her life might be like.
Sherri Brewer portrays the fairy godmother. She's quirky, off-the-wall, practical and cheery and sings in a chirpy, raspy voice as she whirls around in a purple batwing cape, tossing glitter dust.
However, why she stands by herself on the stage when the play begins, then flits about in the town square, is beyond me. It is unnecessary and stalls the action of the opening scene and its rousing "The Prince is Giving a Ball."
The rest of the talented performers are also good: Robert Howard as the herald, Anthony Clark as the steward, Paul Finocchiaro as the chef and Sean C. Boyd as the chauffeur who drives the white Rolls Royce-MG inspired "mini-carriage." The singing and dancing ensembles excel.
Opening night was not without its challenges, however. The scenery caused some unintentional laughs when ballroom panels dropped to the stage with a resounding thud the first time they were lowered. In subsequent scenes they eased to a silent landing.
Microphones caused problems. Since only the lead characters wear them, solo parts by the ensemble are virtually inaudible. Too bad. What's more, one of the chef's mikes was so badly adjusted, it blasted. Others rattled with body movement, causing distortion. Cinderella sounded as if she was walking on loose pebbles in her hoop-skirted gown.
"Cinderella" is enhanced by a live orchestra, directed by David B. Weiller. However, it took a while for the musicians to get up to tempo. The snare drummer should use brushes or muffle the snares, and the trumpets should use mutes, so they don't dominate.
Otherwise, the musicians were a welcome accompaniment.
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