Opening night of “Cinderella a new, Pop Musical,” featured a world premiere version of the Cinderella story.
Grossmont College’s Art Instructor Jeannette Thomas wrote the musical that premiered at Stagehouse Theatre at Grossmont College on August 23. This was the second annual performance for Grossmont’s Summer Theatre Arts Conservatory program, a combination of college and high school actors and stage technicians partnering to produce a play.
Opening night of “Cinderella a new, Pop Musical,” featured a world premiere version of the Cinderella story.
Grossmont College’s Art Instructor Jeannette Thomas wrote the musical that premiered at Stagehouse Theatre at Grossmont College on August 23. This was the second annual performance for Grossmont’s Summer Theatre Arts Conservatory program, a combination of college and high school actors and stage technicians partnering to produce a play.
Performances started uneasily, as the actor’s voices were muddled and not appropriately amplified by microphones. A hiccup quickly remedied and absent thereafter.
Narrator Yusuf O. Yusuf set the fairytale tone of the night, in an untraditional style.
Yusuf infused comedic storytelling and fairytale spoofs, and intertwined playful crowd engaging humor, retaining audience appeal all night. His supplemented antics were one of various Cinderella story alterations.
Thomas’s story is exclusive in that it focuses on more characters than Cinderella. “Cinderella a New, Pop Musical,” highlighted relationships between the prince and his father the king, the two stepsisters of Cinderella, and accentuated personalities of characters stepmother, footman and Godmother.
Ryan Schafer played the king, and his voice commanded attention of the audience. His authoritative tone mingled with his mellow manner, projecting a strong kingly performance. Schafer’s appearance and sound was that of a young Heath Ledger in the film “A Knight’s Tale.”
Further insight between king and prince’s relationship revealed a loving father and a kind hearted, yet immature prince, played by Raymond Kazules. Both Schafer and Kazules illustrated the relationship brilliantly, but struggled with some songs.
Scnafer’s powerful voice eclipsed Kazules softer tone in songs, “100 Years,” and “Go ask an Old Man.” But when Kazules and Schafer harmonized together, their voices complimented each other nicely.
But no characters complimented one another better than stepsisters Drusilla and Octavia played by Amy Oliverio and Rose Hawaree. Their duet “Sister Song,” introduced a unique focus on the stepsisters’ dysfunctional relationship.
Oliverio’s character Drusilla was the butt of every fat joke. Her dramatic mannerism’s accompanied by Thomas’s hilarious punchlines left audiences clutching their bellies. Hawaree’s vanity jabbed her sister and Cinderella repeatedly. Their mother, played by Garrett Johnston, punctuated Oliverio’s gluttony and Hawaree’s hatred.
Cross-dressing Johnston to play Stepmother added more opportunities for humorous situations. Hysterics ensued as Johnston unleashed his burly foot to squeeze into Cinderella’s slipper. It was a roller coaster of crude and silly dialogue all night. Johnston’s insults cut through audiences’ comfortability, while Oliverio’s and Hawaree’s absurdity patched it back. The three characters received the loudest applause during closing bows.
Godmother played by Kiley Giard, and Footman played by Andres Lagang had supporting roles, but both captivated playgoers.
Lagang was a well-paced burst of practical humor that erupted in “Safety Dance.” Lagang lead the prince and ensemble in the musical’s most dashing dance.
Meanwhile Giard serenaded viewers with her solo “True Colors,” a beautiful performance accented by various colors of lighting. Giard’s corky addition to her character produced an original performance, and her harmonization with Cinderella added to the greatness of “Ghost.”
Cinderella, played by Megan Mattix, delivered a vocalization worthy of any modern pop song.
Her portrayal of Cinderella was traditional, personifying sweetness and innocence. Mattix awed attendees with a magical twirl unveiling her dazzling gown, and she fascinated with her performance inside an illuminating sterling carriage designed by the play’s technicians.
Lights gleamed, as darkness fell on the set. Lighting complimented every scene strikingly, and classical tunes camouflaged stage transitions smoothly.
“Cinderella a New Pop Musical” set was designed to resemble a giant bookshelf packed with books. The set appeared to be static, but held secret openings for quick access. The Summer Conservatory stage technicians were stellar. Alluring stage props, charming costumes, and great performances created a magical atmosphere.
Students, faculty, and staff preparation provided an enjoyable experience for guests.
“Cinderella a New Pop Musical” will continue performances through July 31. For more information call Stagehouse Theatre box office at (619) 644-7234.
