Rodgers & Hammerstein's Cinderella
at Wakefield High School

Reviewed on April 30, 2022

India Eddy
Albert Einstein High School
Submitted for publication to Cappies News

Once upon a time… there was this girl: she was poor. Once upon a time, there was this boy: he was not. The boy, a prince, slew giants and dragons and yet still he did not have a wife. So the boy threw a ball, a masquerade where he would dance with every girl in the kingdom wealthy enough to afford a ballgown. The girl wanted to go but her stepmother, a woman some might even call "evil," forbade it and would not give her a ballgown. But someone would: a fairy godmother. You know the story, you know the shoes, you know the show: Rodgers and Hammerstein's Cinderella. But do you know the magic of seeing it performed by the students at Wakefield High School?

Led by Tamzin Folz as Ella, who stunned audiences with a voice as sweet as her character, and Carson Stadler as Prince Topher, who captured both the essence and comedy of his character and the beauty of the music he sang, the cast of Wakefield's Cinderella truly created the magic the audience felt. Ella's evil stepmother Madame (Isa Paley), accompanied by her scheming daughters (Penelope Wagner as Gabrielle and Katerina Larrick as Charlotte), created a charming and hilarious villain. Larrick was particularly impressive as Charlotte, creating and portraying a distinct and hilarious character in every moment they were on stage. Also adding to the villainy of the show was Rand McAvoy as Sebastian who made the audience wonder how such an awful human being could be so darn funny. The dynamic created by Paley and McAvoy as the villains, Folz and Stadler as the heroes, joined by Marcos O'Connor as Jean-Michel, and Wagner and Larrick as the stepsisters somewhere between the two, brought so much chemistry and fairytale magic to this production. Supported by an energetic and lively ensemble, the cast of this show really brought this age-old story to life.

But what is a prince without his castle, and what is a musical without its tech? The actors were aided in creating the magic of this show by a set (Jack Ploetz, Katerina Larrick, Maddie Florio) that captured exactly what it means to be a part of a fairytale, adorned with a magic carriage, a horse named Buttercup, a moon decorated with an ornate clock face, and trees that housed kind and adorable forest creatures (puppeted by Syd Dewitt and Savannah Daub). The props of the show (Mia Cummings, Ananya Mazumdar, Mikayla David, Adriana Brunner) were extensive and yet all carefully crafted and thoroughly thought out, the apples the apple vendor used even matching the lyrics in the song "In My Own Little Corner (Reprise)." The lights (Sofia Argüelles and Jack Ploetz) were detailed with specific color choices to convey the mood of any given moment, the sky falling red when the cast was in danger or pink as Ella and Topher fell in love, and the sound (Holly Purcell, Alex Duall, Eli Kreppel) underscored the performance with incredibly accurate timing and hilarity. The Wakefield Pit Orchestra played the music of the show with seeming ease in the direct view of the audience, creating a beautiful underscoring of the show that enchanted the audience.

The company of Rodgers and Hammerstein's Cinderella at Wakefield High School brought this fairytale to life on their stage, magic and all, through their impressive comedic timing, their gorgeous vocals, their high energy performances, their enchanting set, their extensive props, effective lights and sound, talented orchestra, and an understanding of what it takes to create something truly magical.

Carl Parkin
Albert Einstein High School
Submitted for publication to Cappies News 2

Watch the impossible become possible at Wakefield High School's production of "Cinderella"! Reimagined by Douglas Carter Beane for the Broadway production in 2013, this fun and witty take on the classic Rodgers & Hammerstein fairytale musical combines modern humor and social commentary with the unforgettable score of the original. The story of Ella (Tamzin Folz) and Prince Topher (Carson Stadler) has never felt so fresh, with Wakefield's storybook flair making for a great rendition of an excellent musical.

The foremost strength of Wakefield's production would have to be its aesthetic design. The sets and lighting were both helmed by Sofia Arguelles and Jack Ploetz, and the attention to detail was simply astonishing. From the beauty and construction complexity of the pumpkin carriage, to the subtle and warm lighting that was the cherry on top for that fairytale feel, the aesthetic choices of this production were consistently both creative and executed to a professional level.

The production's beauty did not mean it lacked for talent however. Both Ella and Topher proved to be strong and emotive singers with excellent ranges and vocal control, particularly highlighted in their duet number Ten Minutes Ago. Marie (Lauren Smith), the modern take on the classic Fairy Godmother, also showcased stunning acting and vocal talent, with her flowing, fairylike movements and ethereal high notes making for an excellent execution of this quintessential fairytale character.

Several comedic and supporting roles were also highlights of the show. Madame (Isa Paley), filling the role of the evil stepmother, and Charlotte (Katerina Larrick), her daughter, were both strong and spunky singers that brought not only laughs, but a perfectly lovable villainous presence to the production. Sebastian (Rand McAvoy), a hilariously hateable minister of Prince Topher, brought consistently strong comedic beats as well, his chemistry with the prince bringing out the best of both actors.

Supporting couple of social firebrand Jean-Michel (Marcos O'Connor) and not-so-evil stepsister Gabrielle (Penelope Wagner) also overflowed with chemistry, with Gabrielle in particular bringing a shy warmth and infectious joy to the show even outside of her scenes with Jean-Michel, both in tender moments with Ella and in group numbers like the memorable A Lovely Night.

Also adding to the storybook feel of the show was the ensemble. With well rehearsed dance numbers and consistent engagement in the world of the show, the ensemble truly brought this fairytale land to life. Memorable moments included the opening fight with a giant which managed a large battle scene on a high-school budget without missing a beat, as well as the Act II opening number Stepsister's Lament, which combined hilarious emotive frustration with well-executed tap dancing to great effect.

In the end, Wakefield High School's production of Cinderella was a carriage ride to a unique, wonderful world of princes, princesses, laughter, joy, and just plain fairytale fun. Be sure to stop by before the clock strikes midnight for this excellent musical.

Langston Muller
Albert Einstein High School
Submitted for publication to Patch (Fairfax/Alexandria)

Dreams come true at Wakefield High School's production of Rodgers and Hammerstein's Cinderella. The show, which premiered on Broadway in 2013 after multiple screen adaptations of the titular duo's original script, follows more or less the same path as Charles Perrault's original story. Young Ella works herself to the bone in service to a cruel stepmother and slightly less cruel stepsisters until she meets the prince. What comes after is a classic tale of kindness and magic.

Tamzin Folz acquitted herself well as Ella, bringing a gentle charm to the character that was enhanced by her marvelous voice. She was countered well by Carson Stadler as Prince Topher, who was able to use his character's boyish naivete as a source of consistently entertaining comedy. Strangely for an adaptation of a classic fairy tale, Rodgers and Hammerstein's Cinderella is really funny. Every character had a plethora of bits throughout the show that were always a hearty source of laughs. Two individuals in particular stood out in this regard; Rand McAvoy as Topher's advisor Sebastian and Katerina Larrick as evil stepsister Charlotte. McAvoy perfectly conveyed Sebastian's snobbery with dripping sarcasm and wit, while Larrick did the impossible and made Charlotte both hilariously bratty yet still sympathetically human. Lauren Smith gave a beautifully operatic vocal performance as Marie, Cinderella's fairy godmother and kept that momentum going during dialogue with an infectious sense of whimsy. Journey Sharp's work as royal messenger Lord Pinkleton was also especially impressive. Sharp had a quiet charisma about them that allowed for Pinkleton's short interludes to stand out as refreshingly charming changes of pace. In the end, there was not a dull moment with the cast, who proved that with initiative, hard work, and some darn good acting, even the oldest stories can be made new again.

It wasn't merely the performers who aided with this. The set was the picture of fantastical wonder. Jack Ploetz and his construction crew made many downright inspired choices that gave the show an almost dreamlike atmosphere. The most interesting of these was the moon present on the night of the kingdom's ball. It was no ordinary lunar object but doubled as a clock. In the story, Cinderella's fairy godmother grants her a beautiful dress and other wondrous accessories for the ball that will disappear at the stroke of midnight. The merging of both time and place demonstrated in this set piece created a constant sense of anticipation during the entirety of the ball and wouldn't be amiss in a professional production. The props as well were quite charming, particularly a pair of fox and raccoon puppets, operated by Savannah Daub and Syd Dewitt respectively. They made for compelling and admittedly adorable silent scene partners for Ella's solos.

Wakefield High School delivered a thoroughly charming telling of Cinderella where all facets of production added up to something that was, as cliche as it sounds, magical.

Charlotte Lobring
St. Andrew's Episcopal School
Submitted for publication to Insidenova - Sun Gazette

Welcome to a kingdom where the impossible is possible, traveling the world is feasible with just a book, and Venetian glass shoes can make one a queen. Wakefield High School's Rodgers and Hammerstein's Cinderella is the epitome of loveliness and grace through its dedicated and lively cast, beautiful lighting, and comedy that everyone can enjoy.

Rodgers and Hammerstein's Cinderella, with music by Richard Rodgers and a book and lyrics by Oscar Hammerstein II and later Douglas Carter Beane, was initially written for television and aired in 1957. It went to Broadway in 2013 and won ten Tony Awards and three Drama Desk Awards. The musical is based on the French fairy tale and tells the story of Ella, a young woman who dreams of a better life while acting as a servant for her demanding stepmother, Madame, who teases her for the cinders that fall on her face as she sleeps in the cold basement. When handsome Prince Topher invites every eligible maiden in the kingdom to a ball in hopes of finding a wife, will Ella's stepsisters take the crown? Or will Ella meet the love of her life with a little bit of fairy godmother help?

Tamzin Folz, who played Ella, played the classic character with poise and excellent strength. Folz's singing filled the entire auditorium with gorgeous melodies. The control Folz maintained through the different vocal registers required to sing the score demonstrated advanced talent and technique not commonly found in high school productions. The audience could feel every aspect of Ella's story, the lovely and the tragic. Her costar, Carson Stadler, who played Topher, played the dashing prince with ease and depth of emotion. Stadler's comedic timing was on point, and the falsetto sprinkled in numerous songs was smooth and powerful. The two actors had outstanding chemistry, as was shown when the two characters met for the first time at the ball. Lauren Smith, who played fairy godmother Marie, accompanied the motherly character with breathtaking operatic vocals and witty quips.

What particularly stood out in this production was the incredible talent of every individual cast member, and the antagonists certainly did not disappoint. Isa Paley, who played Madame, was invested and vibrant in every line spoken. Paley dominated the stage, and the audience roared with laughter at the multiple one-liners. Katerina Larrick and Penelope Wagner, who played stepsisters Charlotte and Gabrielle, shined. Larrick owned the stage with dynamic vocals and comedic dances. Wagner portrayed a softness and appealing affection with Marcos O'Connor, who played revolutionary Jean-Michel. Rand McAvoy, who played Topher's advisor Sebastian, excelled in playing the dubious figure with suaveness.

A highlight of the show was the ensemble that made the production go above and beyond. The ensemble remained extremely organized and expressive throughout. Enkhjin Sukhee executed flawless and emotional performances in every dance number. Savannah Daub and Syd Dewitt also charmed the audience with their puppet and onstage performances of the cheeky Fox and Raccoon.

None of the stunning performances on stage could have been made possible without the help of the talented artistic and technical team. Student choreographers produced astonishing group numbers that exhibited multiple dance styles, including waltz, tap, and polka. The lighting, designed by Sofia Arguelles, was clean and seamless and set the tone perfectly in every scene. The Wakefield Pit Orchestra also played the demanding score with ease and consistency, with Matthew Smith and Santi Hernandez standing out in Percussion. Rodgers and Hammerstein's Cinderella is a beautiful show full of memorable performances, stunning visuals, and a little bit of magic.

Alex Kern
Albert Einstein High School
Submitted for publication to Connection

At some point in our lives, we've all had the impression that something we deeply desired was impossible to obtain - for example, a prince when one is a girl living in poverty. In Wakefield High School's production of Rodgers and Hammerstein's Cinderella, the entire company proved that it is, in fact, not impossible for a high school to put on a spectacular performance of this difficult show.

Of particular note were several solo singers' performances. From the very start, the audience had the treat of listening to Ella (Tamzin Folz) lament her station as a poor girl being mistreated by her malicious stepmother, known only as Madame (Isa Paley). Though many likely expected little of the town's resident 'crazy woman' Marie (Lauren Smith), her operatic voice proved to be unrivaled in songs like "There's Music in You". The quartet of Madame, Ella, and her two stepsisters, Charlotte (Katerina Larrick) and Gabrielle (Penelope Wagner), collaborated with each other to create beautiful harmonies in "When You're Driving Through The Moonlight" and "A Lovely Night". Aiding the singers was the orchestra, which was playing on the floor in front of the stage. Their fine sound was perhaps owed to this open-air exposure, as well as the good acoustics of Wakefield's auditorium. It was a rare pleasure to be able to witness more closely the instrumentalists play each song, since this was an unusual arrangement for a high school musical.

In a show like Cinderella, it's easy to focus on the big picture plot points and grand attractions. However, what moved the production from good to outstanding was the attention and time paid to the small details. Audiences are sure to delight in the emotional gestures of the raccoon puppet (controlled by Syd Dewitt), who reacted to a story Ella made up about the adventures she'd take if she could only be free of her difficult circumstances. Lots of care was evident even in small props that got little stage time, like the elegantly gilded box in which Ella carried her stepsisters' and stepmother's necklaces for the ball. Used in just one scene, the fish being hawked by the fishmonger were a shiny spectacle.

The costuming team deserved a nod for their work as well. Both the townspeople's dresses and the ballgowns were vibrantly colorful, allowing all those who wore them to distinguish themselves. The soldiers' uniforms were gorgeously sharp, making the entourage serving Prince Topher (Carson Stadler) operate as one clean unit.

No show can be strong without a strong ensemble, and Wakefield's Cinderella was no exception. The townspeople, soldiers, and ballroom ladies all filled out each scene well, allowing the audience to fall under the spell of the musical better and more deeply. Ensemble members came out into the audience during one ballroom dance, helping audience members feel more included and immersed in the scene.

In summation, Wakefield's Cinderella was just about everything someone could ask for in theater: a compelling love story, lovely music, beautiful costumes and props, and, most importantly, demonstrable passion and energy from each and every actor. The entire company's hard work and dedication was evident in every aspect of the show.