Cinderella

Donning their plexiglass slippers, the Children's Theatre players dance to an exquisite modern adaptation of Cinderella. This version is modern, to say the least, with such lines as, "Hit the road, toad," and "Wise-guy, eh?" It seems to do Cinderella no harm, however, for children in the audience aren't bothered by the dialogue, which is a clever compound of parental cliches.

As a modern adaptation, Cinderella naturally becomes a musical, a feat accomplished rather easily with the sprightly tunes of Dick Brown and Clarence Chang, and the lyrics of Lucy Barry and company. Brown's first song, "Mother Knows Best" is a little too much of the brass musical to be comprehended by children, but adults roar with delight at the Broadway step and brash voices of Maryanne Goldsmith, Sally Shoop, and Anne Adams. Most of the other songs, which were written by Chang, are better suited to infant ears, and Brown redeems himself with the finale--"Flowers Are Dancing Two by Two."

In all the songs the lyrics speed by a little fast for those yet untrained by Gilbert and Sullivan, but the children are never bored. They always like noise, and besides the songs provide a chance for dancing and kicking, an essential in children's productions. Beverly Butte's choreography is a good blend of the clumsiness which delights children and the bland musical step. A modern minuet performed by Peter Parker and Earle Edgerton, the king's courtiers, is particularly successful in its slapstick.

Another bit of good slapstick comes from the two hulking mice, Bill Amory and John Tehan, who are pleasantly uncoordinated and squeeky. Hal Scott, the Prince's herald, also proves himself a skilled children's performer with his relaxed, yet lively and friendly air.

As Cinderella, Wendy Mackenzie does not dominate the stage, but her natural freshness and simplicity pervade the whole performance. Her dancing is light and graceful; even when she is downtrodden, she is never bedraggled. Miss Goldsmith's caustic voice is most appropriate for her rendition of the older sister. The younger sister, Miss Shoop, is somewhat less successful with her mouth hanging open all the time, although this seems more a matter of the director's misconception than Miss Shoop's perversity. The Step-mother, Miss Adams, has a little trouble overcoming an inadvertent smirk at the beginning, but she soon masters her urbanity and by the end is consummately cruel. When the Prince, Keith Gardiner, is singing, he is fine, but otherwise he is awkward, as is the King, Michael Pollatsek. Pollatsek, however, is supposed to be funny. One only wonders why he adopted the manner of a melodrama villain. The Fairy Godmother's Oriental shuffle is likewise a puzzlement.

All in all, the adaptation is good and the acting smooth. Director Lucy Barry and Producer Beverly Butte offer entertainment which will suit not only children but even the most unswerving sophisticates.