There was professionalism and heart and there was magic
Magical moments: Cinderella in her horse-drawn carriage
A good musical has the ability to strike a perfect balance between drama, dance and music so that the overall package satiates the audience’s appetite in all aspects of theatre. Directing a musical like Cinderella comes with its own unique difficulties, not least the challenge of revitalising such a well-known and predictable story, but Anushka Senanayake did nothing short of a brilliant job- along with Natasha Senanayake and Umeshi Rajeendra as the show’s Music Director and Choreographer respectively.
The opening for Saturday night’s performance was slightly flawed by some sound mixing issues which meant the ensemble was drowned out by the orchestra,but this was quickly taken care of. At first glance one could see that the set and lighting design, handled by Marlon Jesudason, was a spectacle which truly deserved its own standing
Getting ready for the ball: Melanie Bibile (left) as the wicked stepmother and Dinara Punchihewa (centre) and Shaline Corea as the stepsisters
ovation. Cinderella’s magical transformation scene (which was no doubt the highlight for many) involved the intricate exteriors of the house giving way to a manoeuverable horse drawn carriage draped in fairy lights set against a gorgeous lighting scheme that illuminated stars in the background. Despite the many set changes, each transition was carried out swiftly and smoothly.
This level of professionalism was equally matched by the meticulous detail and thought that went into how Vishan Gunewardena designed all the costumes. Characters’ personalities were taken into account and reflected in the textures and colours of their clothes. But of course the most impressive moment onstage which elicited rapturous applause from the entire audience came from Crazy Marie and Cinderella’s stunning onstage costume transformations. Well executed every time and pretty awesome to watch!
Cinderella with Kumudini Perera David as the fairy godmother
The orchestra, never overpowering but always working in tandem with the cast, lifted the musical to another level and brought out the best in each actor. You had Devashrie de Silva’s Cinderella exuding a breathless sense of positivity that never came off as preachy, matching well with Damien Fernando’s sweet demeanour in his role as Prince Topher. There was a wonderful chemistry between the two of them and the combination of their voices worked well together.
It was positive to see a cast that was a good blend of new faces as well as theatre veterans. For example, scoring some of the best lines in the show and playing her role to comic perfection was Kumudini Perera-David (Crazy Marie/Fairy Godmother) whose rendition of ‘There’s Music in You’ was a standout moment. Turning out polished performances were Mohammad Adamaly (Sebastian), Melanie Bibile (Madame) and Shalini Corea (Charlotte)
who provided moments of excellent comic relief, although I felt a more subdued approach to their characters might have been more effective, as there was a tendency to overact at certain points.
Midnight is nigh: Anushka Senanayake as Cinderella and Gyles Dharmaratne as the Prince. Pix by M.A. Pushpa Kumara of Sunday’s show
It’s pretty tough to be critical with a show that was superb- if there was anything, I would say it sometimes felt like the mics were muffled which meant the sound was not as crisp as it could have been. The choreography was a good mix of ballet, jazz ballet and ballroom; in some moments not everyone was in sync with each other – but really, I’m just nitpicking here.
This adaptation of Cinderella went above and beyond satisfying expectations with each component of the show balancing the other in its level of professionalism. However, I firmly believe that musicals may be technically brilliant, but if they lack heart, drive and emotion (for which the cast is mostly responsible) then there really is no point putting on a show. Ensembles rarely get credit for doing some of the toughest jobs during musicals but this review cannot end without a special mention of the entire supporting cast for handling this show with so much heart and enthusiasm – never once did the energy drop over the two hours and fifteen minutes they were performing. It was clear that everyone was supporting each other and it genuinely felt like they were having fun onstage. The 20-year-old me (as well as the inner 4-year-old) left the theatre feeling very optimistic as well as eager to see where Theatre Junction goes next.
‘Hear ye, hear ye, the Prince is giving a ball’: A great supporting cast