Cinderella
at Bryn Mawr

Reviewed on October 24, 2019

Nia Anthony
Old Mill
Submitted for publication to Maryland Theatre Guide

The prince is giving a ball! Six hours before the stroke of midnight, magic begins on the stage of the Bryn Mawr School as the company takes us into the colorful, enchanted world of Rodgers and Hammerstein's Cinderella.

One of the oldest fairy tales in literature. Cinderella dates back to the Brothers Grimm stories in 1857 then was revised for families and made to animated film in 1957. There have been numerous individual takes on the tale since, but Rodgers and Hammerstein's Cinderella dares to do the Impossible. Adapted in 2013 starring Laura Osnes as Ella opposite Santino Fontana, the Broadway production would go on to win a Tony Award for it's stellar costume design and three Drama Desk awards as well as produce a cast album. The Rodgers and Hammerstein version has since been bringing magic to stages large and small.

When the scrim first rises the audience is immediately made aware of the ensembles beautiful blended harmonies in the Prologue. The ensemble melts into one legato voice and continues this throughout the entirety of the show. The ensemble brings a meaning to each word they sing. Allowing those viewing to truly believe in the storytelling of the show. The ensemble carries their intention numbers like "The Prince Is Giving A Ball". In the highly comedic "Stepsister's Lament" Mya Gary (Charlotte) showcases her comedic skills as she portrays a frustration in a rather unladylike way, the female ensemble backing her up with all their girl power support. In contrast, Owen Roughton and Daniel Wise (Lord Pinkleton and Lord Daniel) sang with brutish bass and acted with boyish charm in numbers like "The Prince Is Giving A Ball" and "Call To Arms". Poe Doub (Sebastian) and Charlie Dietrick (Jean-Michel) both offer a sarcastic comic relief and inspire mischief in the production.

Charlie Niccolini (Prince Topher), first plays the Prince as a lovable and charming kid with some faults. Niccolini gives Prince Topher a king-like stage presence and an impactful character arc as the show continues, a dynamic offset to his opposite Mia Boydston (Ella). Boydston proves her vocals and technique to match Niccolini in numbers like "Ten Minutes Ago" and "Do I Love You Because You're Beautiful". Anna Murchie gives an enchanting performance as Marie, offering both comedy and delight to the stage. Anna Bakina was pleasant yet bold in her performance as Gabrielle, a direct contrast to Mason Philippe-Auguste's modern take on the thorny Madame.

In tech, the running crew did a phenomenal job of running the constantly moving fly rail and moving set pieces seamlessly. Jessica Bryan and Aeven O'Donnell (props) kept all the props used and seen true to the time period and setting. Naomi Fotenos executed the projections shown in a creative way that models after the Broadway production itself.

"It's Eight O'Clock And All Is Well", as Bryn Mawr School rounds out the rest of their show and does the "Impossible" and remind audiences that the timeless Cinderella is worth experiencing time and time again.

Madison Villarba
Notre Dame Preparatory
Submitted for publication to The Gateway

Beautiful costumes, great singing, and a classic fairytale with a twist made for "A Lovely Night" at Bryn Mawr. Filled with poise and confidence, the students of Bryn Mawr put on a lovely production of "Cinderella," that would be near "Impossible" to forget.

The musical, "Cinderella," first debuted on television in 1957 and first appeared on Broadway in 2013. Music was written by Richard Rodgers, and a book and lyrics were written by Oscar Hammerstein II. Originally written for television, this musical has undergone many changes on its way to becoming the theater production that it is today. Different from what many are used to, this adaptation of "Cinderella" takes on a more modern twist, with much more jokes, but also dealing with the issues of corruption within the prince's kingdom.

The amount of hard work and practice that went into the performance was evident in the amazing production that Bryn Mawr put on. The actors had great delivery, mixing seriousness with a significant amount of humor. The dances had delightful choreography, the costumes were realistic and effective, and the sets were very practical. The actors were all buzzing with energy, and there was an unmistakable chemistry between all of them.

Mia Boydston's (Ella) and Charlie Niccolini's (Topher) portrayal of their respective characters really made you believe that you were there with them. Both leads had great vocals and uncanny chemistry with their fellow actors. Mia Boydston's (Ella) relationships with Charlie Niccolini (Topher) and with Mason Philippe-Auguste (Madame), Anna Bakina (Gabrielle), and Mya Gary (Charlotte) are wonderfully portrayed through each of the actors' lines and actions.

The supporting actors were just as talented as the leads. They provided a good vocal balance while never being overpowering. Anna Murchie (Marie), Poe Doub (Sebastian), and Charlie Dietrick (Jean-Michel) were especially notable supporting actors. They each brought something wonderful to the table, including great vocals and humor-packed delivery. A notable, comedic performance by Mason Philippe-Auguste (Madame) also left the audience laughing.

Standing out in the production were the versatile sets. The changing colors of the background were a subtle, but impactful, change that really helped set the mood. The cleverly used screen and projections also helped with setting the scene. Their terrific prop use, including some puppets amongst other various objects, helped bring the characters to life and give the show an overall more realistic feel. The clever costumes also allowed for the successful execution of both Mia Boydston's (Ella) and Anna Murchie's (Marie) difficult transformation from their old rags into their beautiful new gowns.

With its difficult costume and prop transformations, "Cinderella" can be a difficult show to put on, but Bryn Mawr certainly did well. If you're in search of a musical that has wonderful costumes, great music numbers, and dynamic actors, look no further. Bryn Mawr's production of "Cinderella" is the show for you.

Leah Corckran
Indian Creek
Submitted for publication to The Tribruin

There was no "Ridicule" to be found during The Bryn Mawr School's production of Rodgers and Hammerstein's "Cinderella". In only their second year of Cappies, Bryn Mawr has set themselves up for a magical reputation.


Based on a French fairy tale, "Cinderella" is the only Rodgers and Hammerstein musical written for television. Originally broadcast in 1957, there have been 2 subsequent movie adaptations; one in 1965 and the other in 1997. Following a young woman named Ella, "Cinderella" gives a compelling perspective and a peaceful alternate to the bloody French Revolution with a hint of magic and a dash of romance.


Right off the bat, the harmonies in "Opening/Prologue" were a hallmark of a strong ensemble and set the tone for the rest of the performance. Following the opening's success, Charlie Niccolini (Topher) was endearingly foolish in "Me, Who Am I?", winning over the audience with his smooth voice and pleasant vibrato. An equal match for her opposite, Mia Boydston (Ella) had incredible range and vocal strength, both with head-voice and belting. Her graceful presence and lilting voice embodied the classic "Cinderella" character while maintaining the show's unique twists.


Niccolini and Boydston's voices blended beautifully together in "Ten Minutes Ago" with Niccolini's dulcet tones and Boydston's melodic upper register. Charlie Niccolini's acting proficciency shined in "Call to Arms (The Pursuit)" and "Announcing the Banquet", portraying a young man newly in love and ready to take charge. Not to be a single faceted performer, Niccolini laid on the comedy with his reactions to Mya Gary (Charlotte) and the other ladies in "Gavotte". Gary was continuously a source of audience laughter, most of all in her song "Stepsister's Lament". Gary, Boydston, Anna Bakina (Gabrielle), and Mason Philippe-Auguste (Madame) showed a touching moment of family and girlish gossip in "A Lovely Night". Poe Doub (Sebastian) was a convincing corrupt advisor and played an adequate opponent for Charlie Dietrick (Jean-Michel)

Constantly enthusiastic and expressive, the ensemble increased the show's energy throughout the run. With well-timed dances in "Gavotte" and a realistic celebrity mob-mentality during "The Prince Is Giving a Ball/Now Is The Time", not a single person was unnecessary or misplaced.


A technically proficient show, the tech crew of Bryn Mawr rose to the challenge. Although the stage crew had the advantage of being obscured by a drop of fabric, set changes were quick and quiet. The lighting for the dragon in "Opening/Prologue" and "Me, Who Am I?" was an impressive and creative use of said fabric drop.


"A Lovely Night" for sure! The Bryn Mawr School's "Cinderella" set the bar high and was an exciting and entertaining kick-off for the Cappies season.