Tuacahn's 'Cinderella' full of action, comedy, music

"CINDERELLA," TUACAHN'S BROADWAY IN THE DESERT, Ivins, through Aug. 17, running time: two hours (one intermission) (800-7456 or www.tuacahn.org)

IVINS — William Shakespeare has a few scripts that have been categorized as "problem plays." And if Rodgers & Hammerstein have a "problem play," it would likely be this 1957 version of "Cinderella," which began as a CBS made-for-TV special starring Julie Andrews.

The biggest problem is not the play itself — it's that the classic Walt Disney animated version has become the one most people expect to see. And this isn't it. There are no cute talking mice. There is no Gus-Gus.

But the story is straight from the beloved fable, and the music is what Rodgers & Hammerstein always did best — lyrical ballads, clever comedy, songs that propel the story.

Director-choreographer David Tinney has made some smart, savvy choices in bringing "Cinderella" to the huge Tuacahn stage. The action is injected with plenty of comedy, and the entire production is geared to entertaining kids as well as adults.

Tinney also has a fine cast of strong performers — especially Sarah Brandon and Caleb Damschroder as Cinderella and her handsome Prince Christopher, and Andrew Boyer and Jan Broberg Felt as the King and Queen.

Priscilla Hao's costumes and Marty Kopulsky's wigs and makeup are definite pluses when it comes to Cinderella's less-than-loving family. Her mean stepmother and her two silly stepsisters, Joy and Portia, are almost the female equivalent of the Three Stooges, attired in wildly comical dresses and way over-the-top wigs and hats.

The performance reviewed by the Deseret Morning News featured Joyce Nolen as the stepmother, Carolyn Hartvigesen as Joy and understudy Willow Grey as Portia. There were a few times when the dialogue and action between these three seemed a little forced and tiresome.

But when the action focused on Cinderella, the Prince or the Fairy Godmother (a fine performance by Pamela Dayton), the production really came to life.

Tinney's choreography is best in the big ensemble numbers — the villagers in the public square and the excitement surrounding the royal ball. The climactic glass-slipper search is especially well-handled in one short scene involving a chorus line of village women.

Doug Ellis' scenery, comprised mostly of large set pieces rolled on and off the stage, carry the "storybook" theme throughout the show. The royal ballroom features two curving staircases, built from stacks of fairy-tale books.

The oddest moment in the production comes during the royal ball, when Cinderella and her Prince are hoisted high above the dance floor. A simple spotlight would have been better at focusing attention on the couple rather than having them dangle awkwardly in midair with cables that left the Prince suspended at an angle more like Superman in flight.

Tuacahn is smart in using a live orchestra (Rhonda Rhodes leading 18 musicians for "Cinderella"), which might not be as perfect as a pre-taped score, but adds immeasurably to the live experience.

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E-mail: ivan@desnews.com