The University of Mississippi’s theater program presented Rodgers and Hammerstein’s Broadway adaptation of “Cinderella” at the Ford Center Nov. 15-17.
One would be hard pressed to find a recent retelling of the classic tale of Cinderella that is more enchanting than the musical performed in Oxford this week.
“Cinderella” follows the titular Ella, portrayed by senior theater major Anna Grace Denny, who is on a journey of self-discovery. Her life of misfortune is upended when she is swept up in the trials and tribulations of Prince Topher after he falls madly in love with her. The general story and themes of the original tale of Cinderella remain intact, but this interpretation enlivens characters who were previously a bit more one-note.
While characters such as Lady Tremaine, now referred to as Madame, and the Fairy Godmother, now given the name of Marie, remain similar to their original counterparts, characters such as Gabrielle and Charlotte, formerly known as the evil stepsisters, each have well-defined arcs that dramatically affect the outcome of the story and its thematic ideas.
John Carden, assistant professor of musical theater and director of the production, had much to say about bringing these changes to the stage.
“What intrigued me most was how this version allowed us to honor the timeless magic of Cinderella while simultaneously reexamining its themes with a contemporary lens,” Carden said. “The story is deeply familiar to audiences, but this interpretation gave us the opportunity to challenge traditional archetypes and embrace a playful self-awareness.”
The musical, while consistently swinging for the fences by grappling with the idea of revolution, never seemed bogged down in its inventiveness. Rather, it thrived in its more challenging and spectacle-based moments, including a bevy of exciting musical numbers such as “In My Own Little Corner,” “Ten Minutes Ago” and “Impossible/It’s Possible”.
Senior theater major Maxwell Glasser portrayed Prince Topher.
“Roughly 20-30 of my family members traveled to Oxford, Mississippi, to see the show this weekend,” Glasser said. “While I didn’t get to see them a lot outside of the performance, knowing that the shows this weekend helped create a family reunion and great memories for them is super special to me.”
Other aspects of the show that entranced audience members and performers alike were the stunts and dance numbers. Carden said that the stunts, choreographed by Joe Jackson, were integral to the show.
“Working on the stunts was both thrilling and a challenge,” Carden said. “The primary focus was ensuring safety while maintaining the fluidity of the blocking and storytelling. The stunts weren’t just spectacle, they were integral to the narrative, so it was important that they enhanced the energy and the flow of the scenes.”
Carden said that perfecting the choreography pushed the performers to further “embrace the magic.”
“One thing the production team kept telling us throughout the project was to embrace the magic of this show,” Glasser said. “If we embrace that and have it reflect in our movement, it will read to the 1,200 seat theater we had the honor of performing in.”
The magic seemed to read quite well to all in attendance, including Ross Cohen, a senior accounting and public policy leadership double major from Oxford.
“I try to go pretty regularly to the productions the theater department puts on, and I’m always blown away by the level of design and technical skill that goes into each one,” Cohen said. “I thought this one did a really good job of utilizing the set pieces in fun ways, especially with the woodland creatures.”
For all of its differences and similarities with the original text, the consensus seems to be that the university’s performance of “Cinderella” was enchanting.
“There’s something about Cinderella — its message of hope, kindness and transformation — that resonates on such a personal level,” Carden said. “Every show leaves a mark, but this one stands out for its energy, humor and heart.”
