Cinderella Reviews

Theatre Review – Cinderella Published: May 12th, 2010
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The Uglies get dressed...
Scottish Storytelling Centre
By Thom Dibdin

With a wave of her magic feather duster and leaving a sprinkling of fairy dust in her wake, Shona Reppe enchants and enthrals children and grownups alike with her puppet version of Cinderella – which is at the Scottish Storytelling Centre all this week as part of the Bank of Scotland Imaginate Festival of theatre for Children and Young People.

Reppe’s magic lies in her detail. She demands the attention by that well known theatrical trick of dusting the auditorium – and the delighted audience – before her discovery of a trail of notes leading across the darkening stage.

“Help!” each note cries out in her tiny, fragile voice, as she is led to her chintzy magician’s table, centre stage. “Help!” they cry as she sets the tabletop with the mop, duster and kitchen equipment Cinderella will need. “Help!” they cry as she opens a drawer to discover the dusty, bedraggled Cinders.

And suddenly, Shona Reppe’s magic trick is complete. She has transformed a raggle-taggle bag of groaning, mind-wandering, snot-picking six year-olds into the most attentive audience any performer could ever want. They still comment: “That’s really scary” whispers one as Cinders teeters up a table lamp to whisk dust off the very top. But there is no dissent.

It is scary, too, as Cinderella almost tumbles. Of course she makes it down and has soon turned on Radio Pumpkin’s easy-listening tunes to accompany her late night cleaning. And catch details of a breaking news story concerning a prince and ball with invites for all.

The story started and the mood set, Reppe continues to weave her magic. There are no other puppets for her to manipulate, however. Cinderella’s father is the sound of footsteps passing as she looks up, endearing and hopeful that he will notice her. Never, in all the Cinderellas ever, has he been so heartless.

The Uglies in all their finery

The stepsisters are shimmering gloves which Reppe pulls on with a look of delight, and dresses in bangles and fake-fur trim. Oh, such wanton kitsch! Oh the excess of bling! As the gloves fight and preen, it says everything you could want about the classic image of nouveau riche Uglies but in a manner that is, in keeping with Reppe’s neat, elfin appearance, utterly refined.

The Uglies allow Reppe to take the story right to the edge, too. They hold Cinders up over an open fire for sport. And are happy to hack away parts of their own feet when the glass slipper is sent round after the ball. Yet there is never outright fear, just the frisson of danger which makes the whole play real.

As for the fairy godmother, that’s Reppe herself. Adding a shimmer to her all-black outfit, she sends Cinders off to the ball and steps out to entertain with a few more magic tricks. After all, we didn’t have invites, did we.

It all adds up to a must-see experience. It gives its young audience the space to use their imagination. And will thrill any adult who is still prepared to use theirs.

NEW YORK REVIEWS:

nytheatre.com review
Rohana Elias-Reyes · September 19, 2009

"I've already seen a Cinderella puppet show," whined my daughter en route to the opening presentation of the New Victory Theatre's Scottish Festival. As it turns out, she needn't have worried; Shona Reppe Puppets' Cinderella is unlike any other you and your kids may have seen. It is a magical and mischievous delight; combining simple storytelling with lush and inventive images.
The set, designed by Reppe, is an ingenious cross between a kitchen counter and something you might see falling down Alice in Wonderland's rabbit hole. It's filled with lots of drawers, doors, and imaginative little props; just the sort of thing not only to engage the curiosity of any young master of make believe, but also to emphasize that things aren't always what they appear. If traditional versions of this story rely on spells, wands, and fairy dust, this production veers more toward illusion and slight of hand.
Cinderella is a particularly sad, bedraggled, and runny-nosed puppet, designed and skillfully brought to life by Reppe, who steps into the role of the fairy godmother when she feels Cinderella's taken enough abuse at the hands (literally) of the deliciously mean and spoiled step-sisters. These she plays to the hilt as a pair of brightly colored fancy gloves. These four characters are the only ones we see, but John Williamson's wonderful sound design brings a distant father, a vicious dog, and hints of the outside into Cinderella's world. All of the action takes place in Cinderella's home. The audience never sees the prince or goes to the ball because, as Reppe informs us, we weren't invited. However, we are treated to a beautiful sequence of twirling paper cutouts. As the two-dimensional dresses danced to sweet music, my daughter leaned over and whispered, "it's Cinderella's dream."
Reppe's production does have some moments that are darker or sadder than what is typically offered American children (the traditional cutting off of the stepsisters' toe and heel is included; and though present, Cinderella's father allows her to be abused). However, any harshness is more than offset by the humor, the familiarity of the story, and the inventive theatricality of the production. Both my four-year-old son and six-year-old daughter loved the show. If you have young school-age children, you should hurry to the New Victory. Shona Reppe Puppets' Cinderella isn't likely to turn into a pumpkin at the stroke of midnight, but after September 27, it will disappear.
Copyright ©2009 The New York Theatre Experience, Inc. All rights reserved.

Time Out New York

Is it possible to put a fresh spin on the old and oft-retold Cinderella? In Shona Reppe's capable hands, the answer is yes. The skillful puppeteer's gently goofy take on the classic fairytale is punctuated by inventive twists, including an absent stepfather in place of the evil stepmother, a jaunty jazz score and a handful of diverse puppets—all manipulated by Reppe—portraying the characters.
This Cinderella comes stateside as part of the New Victory Scottish Festival after a successful run at the 2002 Edinburgh Fringe Festival, and it's a bonny affair from the start. Reppe, who’s visible throughout behind the tabletop stage, has a lilting brogue that makes her words sound like song. Much of the show’s magic lies in her nimble fingers and her interactions with her inanimate cast. With her dainty air and animated features, she seems to channel Tinker Bell, down to her platinum-blond pixie 'do. Cinderella, a primitive-looking wooden doll, is the only traditional puppet. The other characters are mostly conjured via evocative sound effects, except for the evil stepsisters, who are embodied by a pair of garish gloves. Although initially confusing, this conceit quickly becomes clear and is quite amusing, especially as they prep for the ball, Reppe’s hands prancing around in vain glory. The unconventional approach to the story—the prince and the ball take place offstage—and slyly placed witticisms keep grown-ups engrossed. Those sitting farther back may have a hard time catching the tiny details, but even so, Reppe's work so charming, it's sure to provide your brood with a happy ending.—Eleni Crush

Read more: http://newyorkkids.timeout.com/articles/theater/78877/cinderella-at-the-duke-on-42nd-street-theater-review#ixzz0S1YfNsNa

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