Theatre Review: Cinderella
Rodgers & Hammerstein's Cinderella
20/03/25
The Byre Theatre, St Andrews
Directed by Matthew Colquhoun
Produced by Jaden Jones
Review by Chloe Annan
MusT’s 2025, Cinderella, directed by Matthew Colquhoun and produced by Jaden Jones for the On the Rocks Arts Festival, was a triumphant rendition of Rodgers & Hammerstein’s beloved original screenplay. The work of the vocal music director, Ruby Thake, especially impressed me. The cohesion between the plot action, staging, and scores was masterful from the outset. Voice and orchestra unfalteringly elevated the plot, communicating the strident atmosphere of the dragon hunt with ‘Prologue’, all the way to the emotional apogee of ‘The Proposal’ where Prince Topher (Ian Crews) finally proposes to Cinderella (Hanna Ward).
Stylistically, the production also drew particular influence from its French source, Cendrillon by Charles Perrault (1697). The ideology of an ardent revolutionary called Jean Michel, mobilised by the kindness of the eponymous heroine and receptivity of her prince, heralds radical social and political change for all peoples of the kingdom – but more about that later. Overall, this rendition not only honoured the original but also infused it with contemporary social and political resonance, making it a memorable highlight of the festival.
Additionally, Cal O’Neill and Jessica MacPherson’s staging constructed a distinct stage space from a myriad of beautifully finished pieces: the reversible screens forming the cottage interior, a 3D well and forest tree stump used in transitory scenes such as the forest and village, a fully articulating pumpkin carriage (made up of ingeniously fastened wheelchairs) and finally, the palace ballroom. Although, there was an occasional scene change that felt clunky due to the near-constant illumination of the stage and the occasional set malfunction (for example, snagging wheels), bravo!
From the outset, the show’s opening set the tone for the production with meticulous attention to detail, spanning from the dynamic staging to an intricate interplay of score and plot. Under Ruby Thake’s direction of the vocal music, a seamless blend of live orchestration and vocal performance unfailingly elevated the emotional weight of the narrative. The grandeur of "Prologue," capturing the clamour of the dragon hunt, to the emotional crescendo of "The Proposal," where Ian Crews’ tender Prince Topher confesses his love to Hanna Ward’s luminous Cinderella, showcased the production’s musical prowess. At times, however, the orchestra slightly overpowered the vocals—a minor flaw in an otherwise harmonious collaboration.
The humour and humanity of the production too deserve mention. From Callum Wardman-Browne’s comedic Sebastian—a condescending yet strangely endearing courtier—to the playful choreography of anthropomorphic animals waltzing in the woods, there was no shortage of wit to balance the sincerity of various emotional and social explorations.
Ward’s Cinderella was a beacon of warmth and resilience, her clear vibrato and delicate mix of head voice embodying the quintessential Disney princess charm. Through Cinderella’s kindness, the characters around her—whether it was her stepsister Gabrielle (Clara Curtis), her charming beau, Prince Topher, or even the strident revolutionary, Jean Michel—were inspired to challenge societal expectations and find their own courage. In Act One, her generosity toward Mad Marie (Bella Yow), a homeless woman initially mocked by others in the kingdom, leads to Cinderella’s own empowerment when Marie reveals herself as the fairy godmother later on. This poignant realisation underscores the reciprocal nature of kindness—it is not only given but also returned in life-changing ways. Yow’s erratic, humorous portrayal of the fairy godmother added levity to an emotional narrative, enriching the audience’s impression of Cinderella’s unbiased kindness (whilst being immensely humorous, of course!).
Cinderella’s influence extends beyond her personal relationships. Her kindness inspires her stepsister Gabrielle to defy the oppressive values of their family and pursue a connection with Jean Michel (Struan Barker), an ardent revolutionary. Gabrielle’s evolution from a vapid court contender to an individual with agency demonstrates the ripple effect of Cinderella’s compassion. Similarly, Prince Topher (Ian Crews) finds himself transformed by Cinderella’s warmth, gaining the courage to shed his naivety and embrace his responsibility as a just ruler. The interplay between Cinderella and Topher highlights the symbiotic nature of their growth. Their love is not a deus ex machina resolution, but a partnership built on mutual inspiration and shared values. Thus, kindness as a theme transcends personal interactions and becomes a guiding principle for the entire kingdom. By the conclusion of the story, it is clear that kindness has not only mended fractured relationships but has also catalysed systemic change, illustrating its far-reaching potential.
While kindness operates on an interpersonal level, the production also engages with broader societal themes, particularly through the character of Jean Michel. Barker delivers a compelling performance as a revolutionary driven by a deep-seated desire for justice. His recurring critique—“Why are the poor the most kind?”—encapsulates his frustration with systemic inequality and his hope for a fairer world. Jean Michel’s passion for change adds a powerful counterpoint to the fairytale romance, transforming Cinderella into more than just a tale of love and magic—a stylistic nod to the original French Cendrillon by Charles Perrault (1697).
Scenes featuring Jean Michel and his followers are imbued with kinetic energy, their movements symbolizing the restless push for change. The juxtaposition of opulent royal balls with scenes of impoverished villagers creates a stark visual representation of inequality, driving home the urgency of revolution.
The staging further accentuated the contrasts between wealth and poverty, with opulent ballroom scenes juxtaposed against minimalist depictions of the villagers’ struggles. Lighting choices—such as the warm, opulent glow of the banquet hall versus the cool, sombre tones of the village—enhanced this dichotomy. The choreography, from energetic ensemble dances to Jean Michel’s impassioned calls for action, added momentum to the themes of revolution, reinforcing the urgency of change.
Jean Michel’s revolutionary ideals are mirrored in his romance with Gabrielle, a relationship that bridges social divides through shared ideals and mutual respect. The couple’s union symbolizes hope for a more egalitarian future, with Gabrielle defying the shallow ambitions of her family in favour of a partnership rooted in shared principles. Together, they embody the possibility of societal change driven by solidarity and love.
The theme of personal growth found a compelling expression in Prince Topher’s arc, a classic coming-of-age journey enhanced by Crews’ nuanced performance. Introduced as a naive and hesitant figure, Topher struggles under the influence of the cynical Sebastian (Callum Wardman-Browne), whose manipulative tactics threaten to erode his sense of agency. However, as the narrative progresses, Topher begins to confront his doubts and take responsibility for his role as a leader. His interactions with Cinderella are central to this transformation; her kindness and courage serve as a catalyst, encouraging him to embrace his potential and act on his principles.
One key moment occurs during the banquet scene, where Topher refuses to endorse oppressive policies proposed by Sebastian. Instead, he chooses to listen to the voices of his people, demonstrating newfound maturity and moral clarity. By the end of the production, Topher has grown into a leader willing to challenge the status quo, and much like his bride, prioritises empathy and fairness over personal convenience.
By the play’s conclusion, the production had not only celebrated love’s liberating power through Cinderella and Topher’s romantic arc but also embraced a vision of reconciliation and equality with the establishment of a democratic government. Gabrielle and Jean Michel’s union, Cinderella’s alliance with Gabrielle, her forgiveness of her stepmother (Madeline Wilton), and the prince’s newfound resolve to govern with compassion, reinforce the idea that kindness and courage can reshape not just personal relationships but entire kingdoms. A dazzling mix of levity, heart, and revolutionary spirit, this Cinderella reminded its audience that even the most fantastical of tales, can hold profound truths about our shared humanity.
