April 20, 2012 at Henderson Pavilion
This performance, in the beautiful Henderson Pavilion, was a sore disappointment in every aspect except one (to be addressed later).
First, the obvious: theater has a strong visual component. Costuming and scenery matter.
In this show, the opening costumes were bland, and of rough construction, on all the characters. They all read as flat, and blended into the background scenery, especially Cinderella’s dress. If a contrast to the later ball gowns was intended, it went too far to the plain/visually-uninteresting end of the spectrum.
The king wore what appeared to be a modern black suit with a white collar shirt.
The low-cost nature of wardrobe efforts was also evidenced by the proportion of actors who wore plain Capezio character shoes or modern ballet flats that were unadorned and unmodified to resemble period footwear. It doesn’t cost much to indicate period style; it just requires a good designer and clever ideas. The costumes in this show were disappointing in their lack of creativity, dimensions, and historical details.
The sets were alarmingly amateurish. The opening sets looked painfully small for the stage, and did not read as three-dimensional structures – they were painted very two-dimensionally. While minimalistic sets can be done very effectively and cleverly, this was not the case in Cinderella. The butcher’s building, supposedly a stone structure, had no depth or weight to it because of how it was painted. The palace bedroom looked like a shack or converted garage, as it was merely a chaise sofa and a window treatment – no painted or hung adornments to indicate wealth, prestige or royalty. There were no backdrops in the first act to create atmosphere or indicate place or time.
The sound suffered from unending reverb, and many of the actor’s voices were muffled and too low in volume to be heard, especially in the ensemble.
The inclusion of children brought its own problems. Their costumes were alternately ratty, ill-fitting, or not appropriate for their ages. The white-horse girls particularly lacked confidence, continually looked at, and talked to, each other, and steered the pumpkin carriage right into the legs (side curtains). It appeared that the children in animal costumes did not have character makeup on. Choreography for the children was extremely simple, yet they were under-rehearsed or not quite at the level of performance that a show like this, in a performance space like this, requires.
Of note, the mice were ticklingly cute. But that wasn’t the significant positive aspect of the show.
Gail Bennett, who played Cinderella, was a joy. Her singing, acting, timing, and stage presence were of the highest caliber. She was a bright light of talent, intent, and skill.
Unfortunately, the overall impression of Cinderella was of an uncreative, unclever amateur staging – more like a dance school recital than a professional production. This was an unexpected shock from a company that named itself after one of the world’s greatest playwrights.
Luckily, other community theater groups in Las Vegas are doing better than this. In fact, several other production groups have mounted exceptional shows, even in smaller venues, that border on regional- or professional-theatre quality. These include Signature Productions and PS Productions. Don’t give up on all Las Vegas theater, just head for those other productions and you’ll be pleasantly surprised.
Event Rating: F (for Ms. Bennett: A)
Audience: All Ages