![]() ![]() Benaiah Barnes’ memorable performance feels more fleshed out and developed than before. Perkins’ radiance and the gaiety of Fairy Godmother’s helpers, played by the scene-stealing duo of Hannah Smith and Rachel Ullman, carry the show and keep things moving.Īnother difference is the characterization of King Darling III. Beautiful and captivating in the title role, Ryann Katherine Perkins’ sells her big number “What’s to Become of Me!” with an intensity that is creditable. Her voice is ethereal, and her portrayal of the Fairy Godmother is more maternal than boastful, which is refreshing. While the microphones are only used during the musical numbers, which still makes it challenging to decipher some of the dialogue, the solos are audible. The first difference is the use of microphones. But this is the second consecutive year Mike McGee, the show’s director, has taken a stab at it, and there are some notable improvements over last year’s production. ![]() In fact, this version of Cinderella has been revisited every year for the last 36 years. If it seems like there are a lot of cooks in the kitchen, there are. This adaptation of Charles Perrault’s fairy tale is by Jim Eiler and Jeanne Bargy, with additional music and lyrics by Martin Shaw, Haskell Fitz-Simmons, Nancy Rich, Suann A. In fact, it takes a cast of 29, a band of six, two dozen production staff members, and nearly 100 volunteers to make this production happen. It takes more than a team of mice and a Fairy Godmother to get Raleigh Little Theatre’s annual holiday production of Cinderella off the ground.
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