Thanks to Lisa for this article! A review from the Toronto Sun Thursday, February 1, 2001 The slipper is cracked Cinderella lacks only a credible heroine By JOHN COULBOURN Toronto Sun TORONTO -- In the seemingly all-hit world of Rodgers And Hammerstein, Cinderella is barely a footnote -- a confection whipped up for TV and later transformed into a piece of musical theatre. Transformations come at a price, however, and it is open to debate as to whether the version currently playing in limited run at the Pantages is more mutilation than modification. On the heels of Tuesday night's opening, we're inclined to call it a draw. Such is the state of musical theatre today that, even watered-down and re-worked, second-rate Rodgers and Hammerstein still has more going for it than a lot of contemporary offerings. Oscar Hammerstein II might have a bit of trouble recognizing his book and lyrics, though, because of the changes wrought by Tom Briggs in his stage adaptation of Robert L. Freeman's teleplay. All the traditional elements of this timeless fairytale are there -- the poor, down-trodden heroine, the mean-spirited stepmother, the two ugly stepsisters, a lonely Prince Charming and a big-hearted fairy Godmother, even the pumpkin and the mice. What's non-traditional is the attitude, from the extensive non- traditional casting (Toronto producers could learn a thing or two from the epidermal shadings in this show) to its very contemporary vernacular. Factored in with the designs of James Youmans and Pamela Scofield, the choreography of Ken Roberson, the special effects of Gregory Meeh and the direction of Gabriel Barre, not to mention the lyrics and tunes of R&H, it becomes a surprisingly refreshing take on an old tale. But it could be a whole lot better. There's fine work from the supporting cast and the puppets that enliven Cinderella's drab existence. As The Stepmother, Everett Quinton has as much fun as he makes, nurturing the dubious charms of Natasha Yvette Williams and Alexandra Kolb as the ugly stepsisters. Leslie Becker and Ken Prymus lend some much needed shallowness to the role of King and Queen, and Victor Trent Cook is delightful as a major domo with major attitude. Of the principals, however, only Paolo Montalban scores high points, fleshing out a two-dimensional character with a strong blend of charm and vocal talent. As Cinderella and her Fairy Godmother respectively, however, one-time pop star Deborah Gibson and diva Eartha Kitt just play themselves, with varying success. Even though Kitt's longevity threatens to turn the feline into the Fellini-esque, her Kitt-ch still charms. Gibson, on the other hand, lacks the vocal chops for the role (especially evident in duets with Montalban) and as an actress, let's just say, as Cinderella, she puts her foot in a lot more than a glass slipper.