Rodgers and Hammerstein Cinderella

This weekend I travelled up north to see the Hope Mill Theatre’s new production of Rodgers and Hammerstein Cinderella, finally making its UK debut after being in production since 2020.

The Hope Mill Theatre has been gaining traction across the UK theatre scene thanks to their imaginative versions of popular musicals featuring a diverse cast and creative team. With beloved productions of Rent, Spring Awakening, Passion and The Wiz, I was always curious about seeing one of their shows as a Mancunian at heart, but never had the chance. When I heard about their version of Rodgers and Hammerstein Cinderella, I knew I had to stop whatever I was doing to see it.

Luckily my extended family happens to live in Manchester, so travel and accommodation weren’t a problem and I ended up taking one of my aunts to see the show with me.

Cast

Cinderella: Ria Tanaka (u/s)
Prince Topher: Jacob Fowler
Madame: Annie Aitken
Crazy Marie/Fairy Godmother: Julie Yannamee
Gabriella: Olivia Faith-Kamau
Charlotte: Katie Richardson
Jean-Michel: Adam Filipe
Sebastian: Lee Orsmby
Lord Pinkleton: Matthew McDonald

Venue: The Hope Mill Theatre

Rating: ★★★★★

What did I think of Rodgers and Hammerstein Cinderella?

The Rodgers and Hammerstein Cinderella has been reinterpreted several times to the point there’s a version that every generation has grown up with. Many will probably be familiar of the show through its TV movies including 1957 one starring Julie Andrews, the 1965 one starring Leslie Ann Warren and of course the 1997 Disney version featuring a colourblind cast including Brandy and Whitney Houston. Also not a stranger to the stage, the Hope Mill Theatre’s production is adapted from the 2013 Broadway version with a rewritten book by Douglas Carter Beane.

This version of Rodgers and Hammerstein Cinderella updates elements of the plot to make it more progressive as Ella opens Prince Topher’s eyes to the injustices happening in the kingdom with the ball used as a distraction by Lord Sebastian. In light of recent political and economic events in the UK including a crippling cost of living crisis, this version of Cinderella feels more relevant than it probably did when it was staged a decade ago on Broadway.

It can be easy to accuse this Cinderella of trying too hard to be ultra-feminist and neglecting the reasons why people come back to the fairytale. However, Joseph Houston’s direction keeps the essence of the story that kindness and love prevail. With the same story beats we all know along with some surprises and some of my favourite songs from Rodgers and Hammerstein’s catalogue (I could waltz to Ten Minutes Ago all night), this take on the show remains timeless yet refreshingly modern.

What were the visuals like?

The Hope Mill Theatre has previously done more intimate stagings of hit musicals, so it was interesting to see them go the opposite direction with Rodgers and Hammerstein Cinderella. Easily their most ambitious show, George Reeve and Aaron J Dootson’s fantastical projections and lighting add scope, grandeur and magic to the kingdom and musical numbers. Of course the standout is the Fairy Godmother’s Impossible number, but they’re also used creatively in scenes including Prince Topher battling monsters and dragons in the prologue and exploring Cinderella’s imagination for In My Own Little Corner.

Don’t think it’s just video projections that make this show magical to watch. The Hope Mill Theatre also utilises some amazing practical effects which add character and humour, including the knight’s shields turning into Topher’s noble steed, Elly Wdowski’s (also responsible for the beautiful costumes) Life of Pi style animal puppets and Neamh Campbell’s miniature carriage a’la The Lion, The Witch and The Wardrobe.

What was the cast like?

What I love about The Hope Mill Theatre’s casting goes beyond the diversity across gender and race that’s needed in today’s landscape. Featuring a mix of established West End stars and musical theatre graduates, The Hope Mill has done a massive service of platforming up and coming performers who’d go on to make their mark and their Rodgers and Hammerstein Cinderella is no exception.

Star Grace Mouat (& Juliet, Six) suffered an injury the week before I went to see which led to the press night being delayed and understudy Rina Tanaka stepping into Cinderella’s glass slippers at short notice. The performance I went to was Ria’s final one and she was phenomenal. With a sweet soprano that was a dream to listen to In My Own Little Corner, she brought spirit, wit and kindness to Ella that was endearing to watch and prevented a “not like other girls” energy others have attempted to update under the misguided belief the character is a passive figure.

Jacob Fowler (Heathers) was also a joy to watch as a more clueless than charming Prince Topher as he falls for Ella and steps up as ruler. Annie Aitken also brought her own flair of drama to Madame, finding the right balance between humour and callousness towards Ella as she primes her daughters to become royalty.

My standout was easily Julie Yannamee as Crazy Marie/Fairy Godmother, bringing the perfect amount sass, drama and heart to the character as she inspires Ella to make her own magic with such a gorgeous singing voice. As for the stepsisters, Katie Richardson was a huge source of laughs as the vain and bratty stepsister Charlotte during Stepsister’s Lament while Olivia Faith-Kamau’s less wicked-more-shy stepsister Gabrielle was so endearing as Ella helped her learn to speak for herself while having a secret love with revolutionary Jean-Michel.

My love for the Rodgers and Hammerstein Cinderella cast also extends to the ensemble who bring a huge amount of energy and grace to William Whelton’s engaging choreography. My personal highlight was easily Matthew McDonald as Lord Pinkerton, bring such bravado and gusto that deserved every applause including the hugely enjoyable The Prince Is Giving A Ball sequence.

What are my overall thoughts?

After over a year of seeing creatives trying and failing to update Cinderella including Andrew Lloyd Webber’s infamous attempt and the underwhelming 2021 Amazon movie, it felt refreshing seeing Rodgers and Hammerstein Cinderella bring a spin on the tale while remaining true to its spirit and messages. As my first Hope Mill Theatre show, I’m so happy I finally got to see one of my favourite fairytale musicals make its premiere in the UK and I’ll definitely be coming back the next time I make the trek up to Manchester.

Have you seen Rodgers and Hammerstein Cinderella? What’s your favourite Hope Mill Theatre production?