Cinderella – Music by Richard Rodgers, Lyrics by Oscar Hammerstein II, New Book by Douglas Carter Beane, Original Book by Oscar Hammerstein II

Eadric Einbinder - Photo by Sam Gianfala

 

 

By Joe Straw

 

Opening night had its problems. The background music was too loud and the singers could not be heard except that one baritone who was singing loudly and so out of tune as to make one cringe, uncontrollably.  Cinderella’s (Katelyn Coon) quick-change pauperess’ costume change into the princess dress was met with awe one moment, tragedy the next when her costume underneath was dragging across the floor and then onto the carriage. Also, the stepmother (Sara Kaner) and her daughter Charlotte (Caroline Hawthorne) were caught on stage powdering each other to a lengthy degree waiting for someone’s entrance. Opening night mishaps.  

 

To add insult to serious injury, the following week’s shows were cancelled when five actors tested positive for COVID.

 

But in the succeeding week, something magical happened. No, it was not the pumpkin turning in a carriage, or the animals turning into coachmen, nothing really magical.  The magic was that all the problems were fixed, understudies came on and did remarkably well, the singing was more than terrific, and it was just one magical night. Impossible? 

 

Santa Monica’s Morgan-Wixson Theatre present Rogers & Hammerstein’s Cinderella music by Richard Rodgers, lyrics by Oscar Hammerstein II, new book by Douglas Carter Beane, original book by Oscar Hammerstein II, Orchestrations by Danny Troob, music Adaptation & Arrangements by David Chase, additional lyrics by Douglas Carter Beane, David Chase & Bruce Pomahac, Produced by Regina Niles and Jeff Stevens, and directed and choreographed by Niko Montelibano.  

 

One recalls seeing Cinderella back in the 1960’s with Lesley Ann Warren and Stuart Damon on CBS.  The songs in this showing were very similar to the 1965 event although there were differences in the book.  

 

In Douglas Carter Beane’s version Prince Topher’s (Eadric Einbinder) parents have died. The kingdom is now essentially being run by the not-so-completely-ruthless Sebastian (Jack Bernaz), the caretaker of the kingdom.  Sebastian secretly engages in the art of eminent domain and takes away the homes of its citizens.  Jean-Michel (Steve Weber) leads the way for an uprising of sorts who incidentally falls in love with Gabrielle (Morgan Rysso), Cinderella’s (Amy Coles) not-so-completely-evil stepsister. This version moves us away from the main focus of Cinderella love story and partly veers off into the social welfare of the community.

 

The songs that stayed with me from the sixties were Cinderella’s “In My Own Little Corner”, “Impossible/It’s Possible” sung by Fairy Godmother Marie and Ella.  But on this particular night it was “When You’re Driving Through the Moonlight” and “A Lovely Night” with Ella (Amy Coles), Madame (Kim Peterson), Charlotte (Erin Brownett) and Gabrielle (Morgan Rysso) who filled the night with such an exquisite sound – a beautiful four-part harmony that blended so magnificently and sent the musical on this night to incredible heights.  To add to that was the beautiful sounds of the ensemble. Whatever happened during the COVID layoff paid off in big dividends in this theatre of 225 seats.

 

Niko Montelibano, director and choreographer, did yeoman’s work creating a show as fine as any musical recently witnesses.  There were additional moments added after the COVID break that gave the characters a defined personality and made the musical that much better. Terrific work.

 

(One witnessed the leads in one performance and the understudies on a later night. Both are mentioned in this write up.)  

 

Katelyn Coon had her moments as Ella in that first night and Eadric Einbinder as Prince Topher sang beautifully.

 

Steve Weber was outstanding as Jean-Michel pleading with townsfolk to pay attention with what he was trying to convey. But, drowned out by the thoughts of the Prince throwing a party. The Jean-Michel love interest required a definition - mostly the start of the relationship - to carry the progression of that relationship throughout the rest of the performance.   

 

Photo by Miriam Billington

 

 

Audrey Pennington does some fine work as Gabrielle. Caroline Hawthorne has her funny moments as Charlotte. Sara Kaner is fantastic as Madame who has a little more evil streak in her.

 

Julie Hinton plays Marie, the fairy godmother coming around as a kind is ditzy homeless person. There seems to be something missing this with particular character, some moments that needed defining.  Marie is locked into getting Ella married to the prince and that was good, but she is left out of the picture on the social issue.  

 

Jack Bernaz plays Sebastian and appeared to be more focused after the break giving the character more layers and much more specific actions in his moments.  Bernaz has a strong and crystal clear voice.

 

Steven Flowers is Lord Pinkelton and is funny throughout.

 

Amy Coles was astonishing as Ella.  Her voice was strong and her movements were specific to her moments on stage. 

 

Morgan Rysso is Gabrielle, the not-too-evil-stepsister.  Gabrielle confronts her stepsister and they share a secret of love and want. These moments work to great satisfaction.

 

Erin Brownett as Charlotte has a terrific presence on stage.  “Stepsister’s Lament” was another wonderful song in the show. 

 

Natalie Kahn made Marie her own as there were very fine moments in her performance.

 

And Kim Peterson added her own very fine touches as Madame. Peterson’s performance had a very nice comedy flair to it and was enjoyable from top to bottom.

 

Kelly Ciurczak was the dance captain and there were some very nice dance numbers in the show.  She was also a member of the ensemble.

 

Other members of this fantastic ensemble were Alex Brown, and Jake Burnett. Holly (Weber) Childers did some very nice acrobat turns on stage and gave a character’s stage life that much more.

 

Others were Cydney Freeman, Grant Garry, Sam Gianfala, Sheryl Katzovitz, Miranda Miller, Helena Nelson, Eileen Cherry O’Donnell, Anne Verrier Scatolini, and Christina Wioch.

 

Sophia Joy, a member of the ensemble, was seen losing her underskirt in a dance number, she quickly jumped out of it, rolled it up, threw it into the wings, and then continued on with her dancing. All are signs of a very promising talent.

 

Abby Penny was a standout member of the ensemble and has a very nice stage presence.

 

Danny Troob’s orchestration was quite marvelous and worked playing over the speakers for this type of production. David Chase was responsible for the music adaptation and arrangements, which also made quite an impression these nights. And Greg Koppenhaven was the musical director.

 

Anne Gesling’s work as Costume Design was simply terrific!

 

Other members of this delightful crew are as follows:

 

Emily Ellis – Stage Manager & intimacy Coordinator

Tara Brown – Assistant Stage Manager

Ethan Kuwata – Assistant Stage Manager

Bill Wilday – Set Design and Lighting Design

Jon Sparks – Wigs and Hair

Marc Antonio Pritchett – Casting

Ever Golden – Light Board Operator

Kaiya Eisenberg – Sound Board Operator

 

This show has closed but there are more on the way “Romeo & Juliet Choose Your Own Ending”, “The Wild Party”, Matilda, and more!!!!

 

https://www.morgan-wixson.org/

 

 

Get it Together by Michael Quinn

 

Hadley Durkee and Joseph Basquill - Photo Austin Martinez

 

 

by Joe Straw

 

The Zephyr Theatre is a favorite of mine.  It is an intimate house of 74 seats.  This is a very intimate stage, an intimate evening, and with a packed crowd watching.  

 

Get It Together written and directed by Michael Quinn is now playing at the Zephyr Theatre on Melrose through August 7^th, 2022. A one-week run just seems impossible to comprehend.

 

Get It Together is a beautiful play about two lonely souls trying to make a go in any relationship but particularly this one.  Michael Quinn has written a dramatic comedy that surrounds the senses with so much unbearable truth that one feels for both characters on their incredible journey through a few years in their lives.

 

Harold (Joseph Basquill), a future computer science professional, and Mary (Hadley Durkee) find themselves alone in a spare bedroom on a Philadelphia house party. They haven’t seen each other since they were in high school.  Mary was a freshman while he was a senior.

 

Harold is casually dressed in a white pullover, rust colored pants and tan boots.  A few of his fingers have tattoos on them as though he has been through a few things. Mary is dressed in translucent patterned shirt, black jeans, and black boots with black matching fingernails. Both are dressed in very casual but attractive party attire.

 

Their relationship would have been cemented in high school if only Harold would have texted her but he was involved with another woman at the exact moment he thought about texting her and then he didn’t do it.

 

What happened to the other woman?

 

“That didn’t work out. I guess I’ll find someone uglier.” – Harold

 

That was a nice little moment for the pretty women standing uncomfortably before him and wanting to get to know him a little better before committing to anything that would be beyond her control, his control, their control.  

 

So, they take it slowly.  Harold wants to know more about Mary, about her interests, and her education in college.  Mary tells Harold that she is a poet and Harold immediately wants to hear some of her work.

 

She recites a poem about a cadaver, something she is remotely familiar with before Harold asks her if she smokes.  Harold pulls out a red pipe, some content, and starts to light up.

 

“I know, it looks like a dick.” – Harold

 

She is hesitant, somewhat afraid that she’ll get into trouble and she asks him if he’s gotten into trouble. He tells her that he got arrested for a parking ticket. Small stuff so they move forward.

 

He teaches her how to smoke as she coughs profusely after each inhalation.

 

Mary says her parents are separated but live in the same house.  Harold says his parents are together but are sleeping apart.

 

Mary finally asks if he is with his girlfriend Emma.

 

“Are you in love with Emma?” – Mary

 

“Yes, I guess.” – Harold

 

And while he is being truthful he tells her that he was arrested for simple assault and explains in detail what happened. But, truth be told, he is an unreliable reporter.

 

Something was different about this production, the way it flowed, the sincerity in which the actors expressed themselves as they moved toward their destination. It felt as though the actors have been rehearsing the show for some time, as they were fluid from one moment to the next. One doesn’t see this level of acting often. It is superior and mesmerizing.

 

Two people attracted to each other stare in the face of love, unable to look away, knowing that if they do, they will lose contact forever.  But for a moment they are pulled away by other forces, an emotional reticent, or a commitment to another. Love is the master of confusion. So they must get it together in order to be with the one they truly love.

 

Michael Quinn writes and directs this wonderful production. His dialogue is comfortable and takes the audience in wonderful directions of personal discoveries. When the dialogue veers off, a response from something impenetrable, it manages to find its way back to the subject of love.

 

Joseph Basquill is excellent as Harold.  His level of concentration is exceptional and he is fluid in movement.  He is creative in his choices and offers us a glimpse of a reason why he can’t get it together.  The choice is so easy but the forces within himself tear Harold dramatically.  And, he is his own worst enemy.

 

Hadley Durkee as Mary doesn’t like to take chances.  Or, maybe she does.  She is uncomfortable walking into an empty bedroom with a man she barely knows. She is inexperienced in some ways but inquisitive to the moment and stubbornly tenacious in finding an answer to her question. She is infatuated with him, but doesn’t want him to know it, at least not right away. Durkee is wonderful in the role, and grows dramatically as the play progresses and the time moves further in their relationship. It’s a wonderful role and Durkee is wonderful in it.

 

This show has a one-week run ending on Sunday August 7^th, 2022.

 

Run! Run! Run! And take a former lover or someone you haven’t quite made a decision on.

 

Zoe Brown produces this outstanding production. Other member of the outstanding crew are as follows: 

Ally Lardner - Stage Manager

Olivia Meredith - Production Designer

Hayden Kirschbaum - Lighting Designer

Bailee Herrera - Sound Designer

Austin Martinez - Pre-Production Photos:

 

Ticket Purchases:  https://www.eventbrite.com/e/get-it-together-a-new-play-tickets-294111604727

 

Zephyr Theatre

7456 Melrose Ave.

Los Angeles, CA 90046