CinderellaThe Prince Street Players Ltd. Production Show Sponsors:
Media Sponsor: The News & Observer Performed in the A.J. Fletcher Opera Theater at the Progress Energy Center for the Performing Arts On this page:
Director's notes from the playbillWhen we speak of Cinderella, Americans most often bring to mind the animated film of Walt Disney. Most of us grew up with that musical confection as a frame of reference. Later on we discovered the lovely musical production written by those giants of the American musical stage, Rodgers and Hammerstein. Most Americans are unaware that our English cousins have a time-honored tradition of presenting Cinderella (as well as a number of other classic children’s stories) as Christmas pantomimes (or “pantos”). This tradition is still alive today in Great Britain, and for most English families the holidays are not complete without a family outing to see one of these hilarious productions, whether Cinderella or Aladdin or Dick Whittington or Snow White or …. You get the picture.
In the true English pantomime, the settings and costumes are as rich and fantastical as budget will allow. There are a number of other “panto” traditions as well. The hero is usually played by a lovely young woman dressed as a young man. The role is called “principal boy” and is classified as a “trouser role”. There is usually a comic “dame” – a gentleman dressed comically in women’s clothes. (Cinderella doesn’t really lend itself to the “principal boy” tradition, as the hero is a heroine). Also, there is usually a very bad comic villain, whom the audience roundly hisses and boos. (Villains we have in plenty; feel free to hiss.) There is usually a good deal of audience participation in the form of prompts from the stage and boisterous responses from the audience.
Raleigh Little Theatre discovered Jim Eiler and Elaine Bargy’s Cinderella twenty years ago. I had seen the script performed and thought it tremendous fun! Originally, when I spoke to Mr. Eiler about our need for a holiday production, he suggested we do his script for Pinocchio, which he thought, with a few lyric and scriptural changes would make a good Christmas play. It did. The next year, I asked him what he thought about Cinderella as a holiday show. We would need to add a chorus, because his script only had the principals. He said, “Why don’t you add a big sort of ‘street’ opening and a big choral finale?” So we did…. We added the mice and the guests at the ball and the young prince and have been having fun with Cinderella now for twenty years.
It may be seen as something of a challenge to keep a production fresh and new over the years. If the actors and production team treat the production with respect and a sense of discovery, the annual outing is always an adventure and gives a great deal of fun and satisfaction! -- Haskell Fitz-Simons Director's musings of RLT's productionDuring my first year at Raleigh Little Theatre, we came to the idea of producing a Christmas show a little late. After searching quickly for something appropriate (and not Dickensian--- our good friends at Theatre In The Park already had that market tied up!) we found a lovely script for Pinocchio by Jim Eiler and Elaine Bargy of the Prince Street Players. In fact, I had been put in touch with Mr. Eiler by my dear friend, Bo Thorpe, Executive Director of The Cape Fear Regional Theatre (then The Fayetteville Little Theatre). Bo had done many of Mr. Eiler's scripts with great success. In fact I had recently seen her in a production of Mr. Eiler's Cinderella at the Fort Bragg Playhouse. (It was hilarious!) She suggested I give him a call in New York and see if he had any suggestions for a Christmas show. Mr. Eiler was very gracious and charming and suggested his Pinocchio. It was a lovely production and very well received.
Then came the problem: what to do next Christmas? Having been steered so well by Mr. Eiler the previous year, I called again and asked for advice. He suggested Cinderella. Well, I had already seen the show, but had a few concerns: Mr. Eiler's script was beautifully written to be performed by a small cast… only the principals in the script. I told him I was a little concerned about the ball scene with so few guests. He said "Well, why don't you add a chorus? Give them a little something to do at the beginning and a big choral finale at the end and that, together with the ball, will give them plenty to do." And that was the start of Cinderella as we know it.
That first season, we may have bitten off a little more than we could chew. Scenic Designer Bill Rogers and I decided to set the production in the elegantly rococo era of the mid-eighteenth century. The entire set would be framed by an ornate ormolu clock. Well, this was all very well and good. At this time, RLT did not have a costume designer on staff. What to do for the necessarily grand costumes of the period? At short notice? Well, luckily, Mr. Rogers was a man of resources. His Alma Mater, UNC-G had just finished a very grand and somewhat outlandish production of School For Scandal. Bill called in a few favors and he and I drove to Greensboro where we were allowed to take the costumes for virtually the entire production back to Raleigh. What to do about the hair? This period was known for its elegant (and large) coiffeurs. As luck would have it a local hairdresser was liquidating his stock of out-of-style falls and hairpieces. He presented us with a huge box of all colors, shapes, and sizes. We ended up stitching them together to give our young ladies something like the requisite number of curls and general hair volume.
After the first season run of Cinderella came to a close, there were no real plans, as yet, to revive the production for the next season (we had not considered the possibility of a recurring production at that point). At strike a number of volunteers urged Bill Rogers not to throw anything away….just in case! Who knew?
For the second season, we were fortunate to have on-staff RLT's first full-time Costume Designer, Vicki King. As we could not really count on the largesse of the UNC-G costume department to loan us their costumes unchanged in perpetuity, One of Vicki's charges was to costume the entire production…. with a budget of only $500.00! In a true loaves-and-fishes type miracle Vicki created the first of the stunning creations that have been a part of Cinderella for lo, these years! (I love you, Vicki!!!) Again, the big problem was the hair! The jury-rigged collection of tatted-together old hairpieces we had used the previous year were at this point not an option! Vicki came up with the solution of making the fantastical yarn wigs that have become such a part of the whole look of the show.
One of the wonderful things about doing Cinderella for all these years is the sheer number of wonderful people I have had the opportunity to work with over the years. It is always an eye-opener to meet someone great, strapping adult and find out that they were once the teeniest of my little mice! It is not uncommon these days to discover that the young lady playing Cinderella was not even born the first year we did the show!
I would be remiss if I didn't mention some of those wonderful people who have come along with me on this fantastic journey: Jo Brown (Step Mama and Fairy Godmother) and Betsy Bates (Prop Master) have both done the show since the very first. I would also like to recognize Sandi Sullivan, Dennis Pool, and Tim Cherry in the current cast who have been so delightful in the show for many years. Also key to my enjoyment of the whole process have been the very talented Musical Directors who have clocked so much time with this production: Suann Strickland, Nancy Wheelan, Harrison Fisher and, this year, Jane Williams.
Others who are no longer in the show, but who have certainly left their marks (and for whose friendship and talents I am eternally grateful) include: Dan Mason and Terry Shippee (who delighted audiences for years as the step-sisters), Scotty Cherryholmes (a very darling King Darling for many seasons) and the wonderful Barney Weaver who played so many different roles over the years and stands by ready to help during rehearsals even during years when he can't do the show. In fact I wish I could extend a personal thanks to every single person: Cinderellas, Princes, Fairies, Courtiers, Townsfolk, Mice, (and "Mouse Parents") as well as the army of technical volunteers who have each been a part, over the years, of the magic of Cinderella!
Of course, as the fella said, "the course of true love ne'er did run straight". On Preview night, Sandi Sullivan (Fairy Godmother) was hospitalized with an acute infection that would keep her out of the entire run, excepting for the final day. What to do? What to do! Luckily RLT (and Cinderella) veteran, Rebecca Johnston was willing to take on the role of Step Mama, and lovely, delightful, Jo Brown moved back to the role of Fairy Godmother (which she had played for years). Jo resurrected her delightful characterization and Becky J, who had not been in the production for years, found her wonderful Step Mama with a total of 2 hours rehearsal.
Opening night was the rather gala 20th Anniversary celebration. Mayor of Raleigh, Charles Meeker, made a special presentation before the show declaring December 12th "Cinderella Day" in Raleigh. In turn RLT gave him a certificate making him an honorary member of the cast. Over 50 former cast members returned to heighten the festivities…. So many grown-up mice!!! Among those who returned were SuAnn Strickland and her husband Charlie Anderson. SuAnn was the musical director the second year of the show, with whom I wrote "By My Fire" and "If I Gave You a Silken Ribbon." Charlie made the orchestration that we use to this day. It was wonderful to see them! Also returning was Chuck Ragsdale who started out as a mouse, then became the very first Young Prince. In fact it was for his beautiful treble voice that we wrote the song. Chuck now teaches musical theatre at NYU (!!!). There were many, many other wonderful faces from the past. What a wonderful event. Poor Sandi was devastated that she could not be a part of it, but thank God for both Jo and Becky!
Members of the castHelpers: Curtis Scott Brown, Joseph Walter Mice: Alexandra Arthur, Damian Ganoe, Michelle Lehman, Sotonye Manuel, Jillian Markham, Daniel Marhelko Ensemble: John Arnold, Amy Lynn Berenson, Pat Berry, Kate P. Bowra, Meredith Budlong, Casey Coats, Kevin W. Crutchfield, Jim Dadosky, Demetris Faison, Stephen Michael Howell, Gina O’Bey, Anne M. Porter, Jared Price, Jordan Sasser, Kerry Sullivan, Elanah Sykes Quartet: John Arnold, Pat Berry, Meredith Budlong, Anne M. Porter OrchestraPiano: Jane Williams Production crewDirector: Haskell Fitz-Simons Box Office Volunteers: Joe Ali, Laura Barrier, Beckie Bumgardner, Harvey Bumgardner, Cornell Chappell, Patsy Clarke, Johnna Cottrell, Deanna Eckert, Joyce Donaldson, Vivian Gilfeather, Lynn Hardison, Connie McDaniel, Rose Melvin, Martha Noyes, Pats Palmer, Linda Pritchard, Linda Shore, Edythe Stanislaw, Marian Susann Costume Shop Crew: Amy Berenson, Marie Berry, Ruth Berry, Lauren Britt, Meredith Budlong, Beckie Bumgardner, Barbara Corbin, Kenna Covington, Caroline Eacho, Katherine Henwood, Carol Hill, Amy Kemp, Susan Kimmel, Cathy Lehman, Beth Marhelko, Connie McDaniels, Wayne Olson, Mary Orellano, Maddy Parks, Yvonne Terrelongue, Claire Wagner, Lydia Wagner, Montana Wagner, Jean Wilkinson Dressers Crew: Katherine Henwood (Chief), Lauren Britt, Mandy Bullman, Becca Carter, Kenna Covington, Sherry Derry, Cathering Lambe, Jenni O'Brien, Alana Sealy, Heather Shinpaugh, Mindy Styers, Barney Weaver Light Crew: Brett Peterman (Chief), Amy Bartley, Chris Eckert, Deanna Eckert, Jeff Eckert, Brian Hunt, Jenni O'Brien, Keith Rothschild Props Crew: Betsy Bates (Chief), Jim Bates, Jeff Eckert, Ben Rutledge Public Relations Crew: Marlys Akin, Amy Allen, Bernard Allen III, Carolyn Busse, Liesl Clouse, Barbara Corbin, Adrienne Dyson, Jayme Elrod, Alison King, Gerrie Kouri, Greg Moore, Thomas Porter, Debbi Rodi, Natasha Strawn, Stuart Wagner, David Wilkinson, Michelle Whitmeyer Running Crew: Keith Bugner (Chief), Ben Berry, Adam Budlong, Teri Caldwell, Sara DeLuca, Dan Eckert, Deanna Eckert, Irene Manuel, Lisa Manuel, Jenifer Root, Keith Rothschild, David Wilk Set Construction Crew: Ed Bodell, Noel Butzke, Joe Kolb, John Price, Dick Shirk Special Thanks To: Roger Krupa and the staff of the BTI Center for the Performing Arts; Arts Access for audio description; Capstone Production Group for Web hosting; The Flower Company of North Raleigh for opening night flowers; Henry Glasgow for piano tuning; Luna Designs for Web site design and maintenance; the Raleigh Chapter of the National Charity League; and PIP Printing for posters. You are here: Photo home > 2003-2004 Yearbook > Cinderella |
