Thanks to Lisa for this article! Cinderella Review from the Grand Rapids Gently updated 'Cinderella' has a fine story to tell Wednesday, December 27, 2000 By Sue Merrell The Grand Rapids Press -------------------------------------------------------------------------------- It's virtually impossible for a 1,300-year-old fairy tale to be relevant to today's young women. As Fairy Godmother would say, though, impossible things happen every day, at least every day this week as Rodgers and Hammerstein's "Cinderella" unfolds at DeVos Hall. Little girls, their hair beaded, braided and bowed, were wide-eyed in anticipation Tuesday night while their parents and grandparents sat back and enjoyed Richard Rodgers' magical music. Although Tom Briggs has updated the script a bit, the songs thankfully retain all the poignant lyrics and powerful music of the original 1957 telefilm. The updated script gives us a stronger Cinderella and a saucier Fairy Godmother. In fact, Eartha Kitt's godmother-with-an-attitude is surprisingly funny, and, in a slinky strapless dress slit up to there, even sexy. At 73, her trademark throaty voice remains as strong and alluring as ever. The practically packed opening-night house gave a rousing welcome as each of the three principals debuted on the stage, and that applause was particularly strong for Paolo Montalban, who is reprising the role as Prince that he created for the 1997 televised movie version. Montalban is a charming prince, properly muscled when he is changing his clothes and endearingly vulnerable in love. Deborah Gibson is alternately strong and subservient as Cinderella, the fireside dreamer afraid to stand up to her stepmother. In most songs her voice blends well with Montalban's, making their duets a highlight of the night. Cinderella sings in almost every scene, and the '80s pop diva has a resonant voice that's clearly up to the demand. She is particularly convincing when she wishes to go to the ball on behalf of every girl who ever wanted to go to a dance but was denied. Every female, young and old, could identify with that. Everette Quinton's wicked stepmother was frighteningly snippy and not the least bit exaggerated. In fact, I suspect that people who had not read their programs didn't even realize the part was played by a man. The two stepsisters, NaTasha Yvette Williams and Alexandra Kolb, were among the humorous highlights of the evening, starting with their ridiculous hairstyles and dresses. But there were lots of humorous moments, physical fun that all ages enjoyed. For instance, King Maximillian, given a tongue-in-cheek interpretation by Ken Prymus, is introduced in his boldly colored purple and orange undies as he hops around the stage trying on a hot pink suit several sizes too small. The prince's steward, played by Victor Trent Cook, also delivers some of the funniest lines of the night, especially when he is fighting off the advances of the wicked stepmother. Four chattering mice, a roly-poly cat and an overly plummed dove were created by stick puppets, which meant in most scenes that their handlers were in plain view as the mice danced and the fat cat climbed the furniture. I found the handlers a little distracting and preferred the scenes where the handlers were hidden behind the fireplace or pyramid of pumpkins. But clearly the children in the audience were soon able to overlook the handlers and were delighted at the animals' antics. The set and costumes gave the production a very contemporary feel, from the skewed houses around the fountain in the village square to the upside-down Christmas tree look of the ballroom chandeliers. There were a couple set change snafus, an errant spotlight and, at one point, a wrong background dropping halfway down, but on the whole, huge set pieces slipped on and off stage without a hitch. The transformation of the pumpkin into the coach was accomplished with a lot of flashing lights, smoke and shadows, but more amazing was Cinderella's quick change from peasant clothes to royal gown, complete with a new hairstyle. It seemed impossible. But making the impossible possible is the whole point of "Cinderella." As long as there are little girls with impossible dreams, Cinderella's story will be told.