As children we all learned the enchanting mystery of fairy tale stories. We knew these magical tales were full of impossible events, but we didn’t care because it was all just for fun, and it took our imagination to fascinating places where we could never hope to go.
Then along came the legendary musical composers, Richard Rodgers and Oscar Hammerstein, to set us all straight with the joyous song, “Impossible,” in their equally joyous musical, CINDERELLA. That wonderful song ends with the optimistic reminder that, “Impossible things are happening every day!”
The recent production of that show from Class Act Productions was so splendid that it convinced me of the truth of that simple phrase. How, in just six short weeks of rehearsals, this very large cast of eager youngsters could be so beautifully organized, and trained to produce such a masterful result remains a mystery to me.
I guess I should not be surprised, because I have had the pleasure of reviewing dozens of Class Act founder, Keith Brumfield’s musical masterpieces for young people since I happily attended his Annie back toward the end of the last century. I feel very fortunate to have recently arrived back in The Woodlands in time to see this latest triumph before it closed.
Congratulations are certainly due to Director, Natalie Monreal, as well as to Music Director, Alyssa Porter, for the memorable singing of the cast, and to Choreographer, Angela Pajestka, for the truly astonishing quality of the dancing.
The action plays out on the attractive and versatile set of designer, Jonathan Shelledy, depicting a fanciful medieval castle, enhanced by the bright lighting designs of Blake Minor.
It is worth mentioning that the original production of Cinderella was not a stage musical, but actually a one-night-only, “live and in color” NBC television broadcast on March 31, 1957. The telecast was unique for its time and starred Julie Andrews. I recall it as a major event of my childhood, but mine was not one of the wealthy families that could view it on a color television set in those early days. And speaking of color, what a radiant display we have in the amazing variety of gorgeous costumes here from designer, Heika DeHart and her team.
While much of this 2013 edition of the R&H musical would be familiar to audiences, this time around there is a new book by Douglas Carter Beane.
It incorporates a plot line that is a bit more political, featuring the new character of the idealistic young revolutionary, Jean-Michel (earnestly played by Samuel Nash). He seeks to urge the royal family to be more sympathetic to the needs of the poor and underprivileged in the kingdom. The new book also includes several unfamiliar songs, which though in the R&H catalogue, were not previously part of this show.
An example of this was the swashbuckling and soul-searching number, “Me, Who am I,” from handsome Prince Topher (Owen Huling). Sword in hand in the opening scene, he slays a mighty Dragon (Cora Bell), while surrounded by his royal aide, Sebastian (Monte McAllister), Lord Plinkleton (James McAllister), and a feisty group of Knights and Pageboys.
Next, we meet the darling character of Ella (Addie Desel), who soon becomes known as Cinderella due to her humble status as a servant girl, often found sitting beside the kitchen fireplace, in the home of her mean stepmother, Madame. (An amusingly haughty and sinister performance from Jennifer Minor).
Of course we cannot mention the memorable Stepmother without including the uproariously funny and deliciously silly Stepsisters. First is the more sympathetic, Gabrielle (Ellie Dehart). Then we have the hilarious Charlotte (from a delightful comedy “ham,” Avery Desel). Ms. Desel brings the house down when she joins the Ladies of the Court for the Act Two opener of “Stepsister’s Lament.” We also meet the mysterious cloaked and hunchbacked old woman, Marie (Lauren Clark), who will soon be revealed to actually be the magical Fairy God Mother.
From there, this wonderful musical proceeds normally with the exception of that slightly political twist from Jean-Michell. But soon he will share a spark of romance with kindly Gabrielle. The uniformly vocal excellence of the cast enhances the many musical favorites like, “In My Own Little Corner,” “Ten Minutes Ago,” “When You’re Driving through the Moonlight,” “A Lovely Night,” the romantic, “Do I Love You Because You’re Beautiful,” and, of course, “The Prince is Giving a Ball.” And what a ball it was, with the graceful medieval dancing, and the lush period costumes. Of course Cinderella has to arrive in an elegant golden coach.
The fun did not end with the beautiful wedding scene Finale that closes the show. Audience members were invited to then meet the cast just outside the theater when exiting. Woodlands resident, young Kyle Hinton, was thrilled to meet Cinderella.
Next from Class Act: ‘THE PRINCE OF EGYPT The MUSICAL” April 9-19, 2026 For tickets & information visit ClassActTheater.org Class Act Theatre, 25275 Budde Rd., The Woodlands, Texas 77381