Rodgers and Hammerstein’s Cinderella In Concert – Cadogan Hall

Picture: Darren Bell

Rodgers and Hammerstein’s Cinderella In Concert at Cadogan Hall, London.

Star rating: three stars ★ ★ ★ ✩ ✩

It was Julie Andrews’ agent who was the first to think of Rodgers and Hammerstein adapting the tale of Cinderella as a musical for his client, Andrews having already played that part in a pantomime at the London Palladium in 1953.

Rodgers and Hammerstein liked the idea and before long CBS announced that it would be presented coast-to-coast as a 90-minute special. When it aired on 31 March 1957, audience figures showed that it was seen by up to 100 million people, more than twice as many people in a single airing than had seen all of the previous Rodgers and Hammerstein musicals. A year later it was produced in London, as a pantomime!

Now this stage version arrives from Broadway where it had a respectable run of 770 performances in 2013. The new book by Douglas Carter Beane updates the story but in doing so loses some of the magic in the original tale and Hammerstein’s lyrics.

Isn’t Cinderella a prettier name than Ella? She now wears a social conscience, and the stepsisters and stepmother no longer remain figures to boo but contrite to a fault. The script included a number of up-to-date topical references, though it was none the worse for that, and there was a good deal more humour therein than in any previous incarnation, I recall.

Bathed in a purple glow with graphics illustrating the story, this Ella was blessed by the warm personality and radiant singing of Christine Allado. Whether in rags or  respendent in a white ball gown (the one concession to the costume department), she made the title role her own and of all the cast members she had least referral to the script.

The Prince Tofer, a young Jac Yarrow, would no doubt have grown into the role were this a stage run. At present the voice lacked a core, a nerve or two perhaps, and he seemed over parted from Allado in their concluding duet, ‘Do I Love You Because You’re Beautiful?’, where surely he should have worn a black tie to complement his bride.

Jodie Jacobs nearly stole the evening with her ‘Stepdaughters’ Lament’. When it came to men, respect was the last thing on her mind!

Sam Oladeinde, as Lord Pilkington, was a commanding presence, vocally and in stature, but Dianne Pilkington never really settled into her part as Marie, the voice on a see-saw between mezzo soprano and soprano. This was another instance where more rehearsal would have unlocked the key to her character.

Dean John-Wilson didn’t have much of a part, but surely he could have demonstrated more enthusiasm as the willing suitor of Zoe Rainey’s Gabrielle. His principal song, ‘Now is the Time’, a setting of a march from South Pacific, left little impression.

Mazz Murray as Madame and Jérôme Pradon as Sebastian were to an extent the victims of an erratic sound system, whereby their lines were over projected in the hall at one dynamic level. The problems with the sound were manifest at once and prevailed through the first half with an inbalance between voices and orchestra and a chorus which was often inaudible.

In the second half there were microphones that came on late, suggesting a partial but unsuccesfull revamp had taken place,  leaving some of the cast adrift. This state of affairs came close to undermining the enjoyment of the evening.

No one worked harder than musical director Freddie Tapner and the London Musical Theatre Orchestra at holding the reins together. He never missed offering a cue to his cast, but above all he and his orchestra really captured the lilt and pathos of Rodgers’ melodies that sparkled anew in the glittering orchestrations by Danny Troob.

Mention should be made too of the music adaptation and arrangements by David Chase that blended the original score seamlessly with the new material. This was an evening that belonged to the conductor and his ‘Cinderella’ and it was appropriate that they took centre stage at the final bow.

Directed by Jonathan O’Boyle, his Cinderella has all the makings of a full-scale stage revival, the music itself, and there’s an abundance of it, being an unadulterated joy to hear. Last night we were were three-quarters of the way there.

Adrian Edwards