*Note: As per the performance eligibility requirements laid out here, this production is not up for HRACT Award consideration.*

One of the things that I value most about community theatre is the access that it provides to the arts – with affordable tickets and venues close to home, it can be a great democratizer of stagecraft.  So, when Thomas Yannuzzi, the Executive Director of the Suffolk Center for Cultural Arts, gave a short speech describing the Suffolk Center’s mission as exactly that – creating access to the arts – I thought – this is going to be a fantastic and supportive home for the newly created Suffolk Stage Company, above and beyond the beautiful venue itself.  And when you think about shows that will appeal to a huge group of people, of all races and ages – it is hard not to consider that fairy tale of fairy tales – Cinderella.

Now – putting on “Cinderella: Enchanted Edition” (i.e., the revamped Rodgers and Hammerstein version that Brandy and Whitney Houston made famous in the late 90s) is no small feat – especially as your first ever show, before you have a subscriber base to front any of the funding you need to do things like buy set pieces, or a group of actors you can count on coming out to fill the ensemble, or any costumes from old shows that you might be able to repurpose with some tweaks to dress those actors.  And – you have the extra pressure of needing the show to be good – after all, it is setting the tone for any show going forward at this theatre.  Every show creates something out of nothing – but this show’s nothing didn’t even include a pumpkin or some mice (more on that later).  Luckily, this monumental task met its match in two-time ACT-y nominated director Jeff Seneca and his newly minted ACT-y winning wife, assistant director and propmaster Jessica Seneca. 

Walking in, you will notice the romantic lanterns lining the front of the stage – immediately pulling you into the storybook setting.   And as the curtain rises, we meet the Fairy Godmother – and take a good look at that cool staff she is holding, as I don’t believe you will get to see it again once she trades it for a wand – but the fact that this crew took the time to make or acquire such an eye-popping prop for a very small stage appearance will give you a sense of the time and attention to detail that you are about to be exposed to.  And with a spin of the cleverly concocted rolling set pieces from Jeff Seneca and HRACT Award winner Mike Hilton, the magic of the story takes us away…

And we breathtakingly meet our Cinderella.  From the moment she walks on stage, Sabet Ordanza Moller is everything you might hope for in a Cinderella.  Her unmatchable singing voice, her humble but hopeful spirit, the way she moves with such grace as if she is walking on air – Ordanza Moller is remarkable.  And – if you allow me to skip ahead for a moment and spoil a story which I have to believe is unspoilable at this point – I had literal goosebumps when she walked into the ball and down those stairs – it brought back every memory of what falling in love meant when you were a child, and every memory (for me at least) of what falling in love was in fact like as an adult, with that feeling of nervous excitement upon seeing your future wife. 

Feeling that nervous excitement on stage is the talented Drew Carr as Prince Christopher.  Carr nailed the feeling of what it is like when you are in love – with nothing but admiration in his eyes for his Cinderella – so infatuated that he can’t remember the simplest bits of getting-to-know-you-conversations like, for example, asking for her name (whoops).  No matter – Carr is determined to find her even if he must test that glass slipper on every woman in the kingdom (an exceedingly clever bit of ensemble work using the rolling set pieces to their fullest – although I’d love to know how they how they organize all the left shoes backstage to ensure they don’t get mixed up).  In fact – the ensemble is exceptional throughout, with noticeable but not distracting side plots clearly happening just behind the leads.  Our favorite ensemble number was probably “The Prince is Giving a Ball”, where the cast does an amazing job of capturing the excitement of the kingdom (with impressive harmonies put together by music director Dr. Joleen Neighbours), as they dance with their invitations and high-step with huge cheese wheels.  The choreography from our favorite “Coralographer ™ ” (and HRACT Award winner) Coral Mapp is compelling and incredibly effective at filling the stage, while still driving your eyes toward the leads.  The best example of this is at the ball when the Prince is having the “pleasure” of dancing with each eligible maiden – and each eligible maiden puts her own spin on the ballroom dance going on around them. 

In fact, the “Coralography ™ ” at times is so inviting that even the animals have to join in – for of course, what would Cinderella be without her animal friends?  In this show, we get the absolute cutest mice puppets and one adorable cat puppet joining in on the fun – and they get audible “awws” from the audience each time they pop out from behind the scenery.  They are even drawn into a scene reminiscing about the magic of the ball with that evil stepmother (an absolutely beguiling role pulled off by the wonderful Kristen Martwinski, who has mastered her look of disgust, her very funny “hold up her dress and walk in tiny intimidating steps” move, and her “p”erfectly “p”ronounced “p”s), and the two stepsisters. 

I have to pause to take a minute and recognize the work of those two stepsisters, played by HRACT Award winner Sarah Schweit and Miranda Schorr-Void.  They are each hilarious on their own – with Schweit’s very itchy Grace cracking us up even just in the way she settles herself on a couch (or, on the floor) in her large hoop skirt, and Schorr-Void’s Joy attempting to use her “naturally infectious” laughter to woo the Prince.  But they are best together (and with Martwinski), outfitted in very tall hats and very gaudy dresses, always arguing or being jealous or squaring up to pull some kung-fu moves on each other.  Massively entertaining.

Those very tall hats and very gaudy dresses are just the tip of the iceberg for costumer David Prescott and hair and wigs designer Marilyn Abernathy, who brings screen-ready outfits to everyone in the cast, from Cinderella’s working outfit to Cinderella’s mother’s dress to Cinderella’s show-stopping dress… and I haven’t even gotten to the impressive ensemble outfits (the black-tie ball is a sight to behold) or the royal family’s outfits.  Suffice it to say – you won’t be disappointed in anything you see on stage.

Speaking of the royal family – we’ve got yet another HRACT Award winner in Peter Scheible confidently portraying King Maximillian, and Ariel Lee-B. Velazquez playing the pushy (but all out of love) Queen Constantina, together demonstrating what love looks like for their son (maybe too well for the Queen’s taste, as Prince Christopher refuses to pick just anyone for his wife).  They employ Bracey Parr as Lionel, who somehow remembers the correct order of Prince Christopher’s about 30 very royal sounding names, and is appropriately shocked as a certain pumpkin comes flying into the scene as the clock strikes midnight. 

That pumpkin wouldn’t have ever made it to the ball without one Grace Fitzpatrick, yet another HRACT Award nominee in this stacked cast, who is a perfect Fairy Godmother.  She brings a casualness to the role, making it easy for Cinderella to talk to her… but with a distinct sense of magic, only emphasized by her slightly purple tinted wig.  Fitzpatrick pushes the plot just enough, sneaking in and out of scenes, to bring this fairy tale to its natural conclusion, beautifully appointed carriage and very inventive horse costumes included.

If you couldn’t tell from the first ten paragraphs of this review – we really loved this show, from top to bottom.  It is well worth the trip out to Suffolk, not just to check out the new digs, but to see the start of something new, the start of something that we hope will be sustainable and lasting – and a truly excellent show to boot.  Jeff Seneca and team decided to go big with their first show to lure audiences in and prove the concept… well consider us hooked – and hoping this is just the beginning of Suffolk Stage Company’s happily ever after.

(New this season, our wonderful cat Pepper wanted her voice heard as well, if you all will oblige her…)

Pepper’s Purr-fect Picks: One of the best representations of cats I’ve seen on stage; Charles is a credit to the feline species.  Being friends with a troupe of the cutest mice I’ve ever seen is the cherry on top.  Four paws up! 

(Pepper also canonically sells concessions at the various community theaters.  She always comes up with a themed drink special, which is for entertainment purposes only and notably IS NOT in fact available for purchase)

Pepper’s Drink Special: Bringing autumn a little early with “The Pumpkin (Carriage) Spiced Latte”.