This year, Theater Latte Da is forgoing their usual holiday fare (the long-running and always moving
All is Calm, now streaming on
PBS.org, and the more recent balm to the soul
Christmas at the Local) for a show that is a series of firsts. The regional premiere of the 2013 update of Rodgers and Hammerstein's
Cinderella, which was the first (and only) musical they wrote exclusively for television, Theater Latte Da's first ever production of a Rodgers and Hammerstein musical, and new Artistic Director Justin Lucero's directing debut with the company. The result is a fun, magical, and heart-warming show that feels both classic and modern, with a fantastic local cast and simply gorgeous design.
See it at the Ritz Theater in Northeast Minneapolis now through January 5.
In the new book by Douglas Carter Beane (adapted from Hammerstein's original), the would-be princess is a smart, thoughtful, confident, and kind young woman who is concerned about social justice, and perhaps most shockingly, good friends with her stepsister. To begin the story, Prince (Chris)Topher is going through an existential crisis, returned from school to rule the kingdom after his parents' death, but unsure and unsatisfied with his life. In comes the poor and pretty (Cinder)Ella, who winds up at the ball thanks to her fairy godmother, and before the clock strikes midnight tells Topher about the troubles of his people and that he should do something to help him. In another change to the traditional story, one of the stepsisters is nice, and she and Ella are friends and confidantes - a lovely addition to show that friendship is also a love worth having. She's in love with the cute revolutionary Jean-Michel, and Ella arranges for him to meet the Prince and discuss the issues of the people. Topher not only listens to them just like a regular guy, he also apparently invents democracy, calling for an election for a Prime Minister to advise him on such matters. In the end, it's still about the slipper (but with a refreshing update that gives Ella more agency), the love story, the wedding, and the fairy tale, but in this case, the princess saves the prince as much as the prince saves the princess.*
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Ella (Nambi Mwassa) and Topher (Theo Janke-Furman)
meet cute (photo by Dan Norman) |
The talented 13-person ensemble (relatively small for this type of musical) is led by two relative newcomers to the #TCTheater scene. Nambi Mwassa impressed in the supporting role of Nettie in
Latte Da's The Color Purple this spring, and shines in the title role here. Her Ella is strong and smart and kind, and easy to root for. As her prince, Theo Janke-Furman is charming and funny and personable, and deservedly won this role at the leading musical theater company in town after just a couple of supporting turns at Lyric Arts. Nambi and Theo are well-matched, with a sweet and believable chemistry, and both sing gorgeously individually and together.
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more of this please! Tod Petersen and
Sally Wingert (photo by Dan Norman) |
I don't know if we've ever seen #TCTheater veterans Sally Wingert and Tod Petersen together before, but I need more of them in my life. Sally is the funniest nastiest stepmother you could ever want, and Tod is deliciously evil as the Prince's ambitious regent. Their one scene together is a gem and I wish there were more of them! On opening night, we saw understudy Carnetha Anthony in the role of the Fairy Godmother, and she was flawlessly magical and motherly. Also great are Isa Condo-Olvera as the nice stepsister, Hope Nordquist as the stereotypical not-so-nice one (her "Stepsister's Lament" a highlight), Po Cushman as the dreamy revolutionary, and Evan Tyler Wilson in a fun turn as the town crier. But perhaps the most impressive performances are by the four hard-working ensemble members (James Delage, Abby Magalee, Jon Michael Stiff, and Gabriella Trentacoste) who function as a mini-chorus line and play multiple characters from courtiers to peasants to animals (with the sweetest little wire-frame puppets).
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just a happy little (step) family
(Isa Condo-Olvera, Hope Nordqiust, Sally Wingert,
and Nambi Mwasa, photo by Dan Norman) |
Perhaps this was just an opening night feature, but I walked into the Ritz through a shower of bubbles! That bubble theme continued onto the set, with giant circles surrounding the proscenium, lit up in different colors. The stage is sparse and open, with the only set pieces being metal half-circles of various sizes that can be turned 90 degrees and cleverly form multiple settings and structures (including the charming pumpkin coach). Stairs lead up to balconies on either side of the stage, where the orchestra is seated, with characters utilizing the space too. The costumes are a fun and colorful mix of modern and Renn Fest, with some delightfully outrageous outfits for the steps, and the chorus members' costumes particularly versatile with different add-on pieces on top of a neutral base. Cinderella's dress transformation is always an iconic moment, and while it's pretty obvious how they did that here, it's still cleverly done and fun to see, and even magical if you squint your eyes a little. (Scenic design by Eli Sherlock, costume design by Mathew J. LeFebvre, lighting design by Marcus Dilliard.)
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the best things happen when you're dancing (Nambi Mwassa and
Theo Janke-Furman with the ensemble, photo by Dan Norman) |
Despite having seen the show several times I'm not as familiar with this score as other R&H classics, but it still has that familiar sound, and some recognizable tunes including "My Own Little Corner" and "Impossible (things are happening every day)." I was thrilled to walk into the theater and see that the orchestra would be visible on stage; I always love watching them play and feeling like they're really a part of things. One of the wonders of Theater Latte Da is the lush musical sound they create with a much smaller orchestra than designed, here just six pieces. Local Music Director Wesley Frye is making his Latte Da debut with this show, and seamlessly continues that tradition. This classic score lends itself well to dancing, and choreographer Kyle Weiler has created some beautiful dances that, while there may only be three or four couples dancing, still feels expansive and elegant.
Founding Artistic Director Peter Rothstein left big shoes to fill when he departed for
Asolo Rep in Florida
at the end of the 2022-2023 season. One of the things I most admire about new AD Justin Lucero first season is how he's attended and supported so many other theater companies in town.
This first season he's programmed at Theater Latte Da continues Peter's legacy, with new work (the fabulous
Scotland, PA), regional premieres (the upcoming
Fun Home), more Sondheim (the rarely done
Passions), and reimagined classics, like this
Cinderella. And how we get a taste of his directorial vision, in a show full of joy and light and magic, well staged on a smaller scale with a talented local cast, over half of them making their Latte Da debut. It's an exciting new era for Theater Latte Da, and I'm here for it!
