Chicagoland is sure to have a ball at Paramount's opulent, nuanced 'Cinderella' through the holidays

Mikayla Renfrow and Markcus Blair. Photo by Liz Lauren.

With an emotionally accessible Prince Charming, a Mother Earth-type Fairy Godmother and a 21st century, petite-but-confident leading lady who goes after what she wants and deserves (just a chance to get to know him), Paramount Theatre’s Cinderella, is the musical that’ll delight all ages this holiday season.

This Cinderella is actually the third version of the original Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics) musical, which premiered on TV in 1957. The well-known story is based on the French fairy tale by Charles Perrault and modernized in this “enchanted edition” to appeal to contemporary audiences by Robert L. Freedman (teleplay) and Tom Briggs (stage adaptation). It salutes the 1997 TV musical with Brandy as the first Black actress to portray Cinderella on screen and Whitney Houston as the Fairy Godmother. A synopsis is here.

Those who read “modernized” with skepticism, believing perhaps it could render an old favorite unrecognizable… relax. The stepsisters are snotty; pumpkins become horse-drawn carriages; house rodents are Cindy’s animated pets; and good God, the gowns, other costumes and wigs are truly splendid (thanks to Costume Designer Theresa Ham and Wig, Hair and Makeup Designer Katie Cordts).

Perhaps Paramount’s stellar public relations pro, Jay Kelly, or the peeps he works with say it best: “By the end of the show, young and old alike will wish fairy godmothers and glass slippers weren’t just for fairy tales. After all, you’re never too young for a little magic. And never too old to believe.”

It all comes together through the vision of seven-time Jeff winner Brenda Didier, director and co-choreographer, whose modernization of the story is terrifically nuanced through the work of her stellar cast. The dance is regal, lovely and co-choreographed by Tiffany Kraus. Music Director and Conductor Kory Danielson leads the full orchestra—always a joy at Paramount. Intricately detailed sets (this reviewer particularly liked the cutout, lighted forest trees) are the work of Angela Weber Miller.

Onstage, let’s first welcome Mikayla Renfrow to Chicagoland. This dulcet-voiced recent graduate of the University of Cincinnati, College-Conservatory of Music, makes her Chicago debut as Cinderella in a most notable performance. While eliciting enough sympathy for the well-known cruelty brandished against her, audiences get the sense that Renfrow’s Cinderella is going to find her way and be just fine, prince or no prince. Her forgiving demeanor toward her abusive family members in the musical’s final scenes are as memorable as her gorgeous vocals in “In My Own Little Corner,” “Ten Minutes Ago” and “Do I Love You Because You’re Beautiful?,” among others.

Cinderella’s gorgeous partner, Prince Christopher (Charming), is wonderfully, understatedly played by Markcus Blair. Lovely duets (“Ten Minutes Ago” and “Do I Love You Because You’re Beautiful?”) and fabulous dance are hallmarks of this Syracuse University graduate. But it’s his believable desire to find love, not merely be married off, that’s the most endearing part of Blair’s performance.

Last seen in these parts touring as Carole King in Beautiful, Sarah Bockel owns the part of the evil Stepmother, setting up the comic nastiness of her daughters, Jacquelyne Jones (one of this reviewer’s favorites) as Grace and Tiffany T. Taylor as Joy. Jerica Exum as an earthy Fairy Godmother is stunning. African-inspired costuming on Rashada Dawan as Queen Constantina makes a powerful statement. Lorenzo Rush Jr. (another favorite) as Lionel and Michael Kingston as King Maximillian are simply terrific., as is the entire supporting cast—not surprising for a group including Camille Robinson and Kelli Harrington.

As Chicagoland musical theatre patrons now can go “wherever you want to go” (masked and vaccinated), they’re doing so in the knowledge of a globally shared Cinderella experience—isolation, hopelessness and fear. A trip to Aurora, even if made tentatively in these still-COVID times, will remind that what just a year ago was thought to be impossible is very possible, indeed.

Cinderella runs through January 9th, 2022, at the Paramount Theatre, 23 E. Galena Blvd., Aurora. More information and tickets are available here.