www.lightingandsoundamerica.com April 2013

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Cinderella: Rodgers and Hammerstein’s classic comes to Broadway

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Rodgers and Hammerstein’s Cinderella creates magic on Broadway

By: David Barbour

torybook SClassic

64 • April 2013 • Lighting&Sound America onceived as a one-off live orphan.) There’s also a touch of Jean-Michel rouses his followers with television broadcast in revolution brewing in the kingdom, “Now is the Time,” cut from South 1957, Rodgers and with the leading dissenter, Jean- Pacific, as was “Loneliness of Hammerstein’s Cinderella Michel, raising alarms about the Evening,” a solo for Cinderella. has made it to Broadway widening gulf between the haves and “There’s Music in You,” written for the Cafter a mere 56 years. There have have-nots. Cinderella’s stepsisters, 1953 film Main Street to Broadway, is been many stops along the way— united in their greed and disdain in here given to Marie, Cinderella’s fairy new versions for television in 1965 other versions, are not a matched set; godmother. and 1997 and revisions (by different one of them, Gabrielle, is really rather Nevertheless, under Mark writers) for the stage in 1993, 2001, sweet, if cowed by Madame, and she Brokaw’s direction and with lively, and 2008—all of which paid tribute to carries a torch for Jean-Michel. (This inventive choreography by Josh the property’s durability. Finally— approach allows for Ann Harada, as Rhodes, this Cinderella preserves the given the score’s quality and the burgeoning market in shows aimed at tweener girls—it was decided that the time had come for a definitive Broadway Cinderella. Over the decades, the only unchanging aspects of Cinderella were its core of musical numbers written for the original broadcast and its general scenario, based on what is arguably the world’s most famous fairy tale. The 1957 show, with a young Julie Andrews in the title role, featured a libretto by Oscar Hammerstein II in addition to songs by him and Richard Rodgers. In 1965, after Hammerstein’s death, Rodgers, reportedly feeling that the original script was too jokey, brought in Joseph Schrank for a rewrite. Just about every new production since has featured another adaptation. The Cinderella now playing at the Broadway Theatre features a book, by Douglas Carter Beane, that retools Laura Osnes, opposite, and above with the female ensemble in “The Prince is Giving the fairy tale for modern sensibilities. a Ball.” In this version, Cinderella is hardly a passive ingenue waiting for the day Charlotte, the other sister, to stop the classic values of both Charles when her prince will come, nor is the show with “Stepsister’s Lament,” in Perrault’s original story and of prince a cardboard hero with a which she complains amusingly about Broadway during its book musical square jaw and stentorian voice. her inability to get to first base with heyday. High technology and show Instead, Cinderella is the intellectually Prince Topher.) business glitz have been forgone in curious child of an abusive Because the original Cinderella ran favor of classic staging techniques. household—Madame, her only 76 minutes (plus commercials), (The most gasp-inducing moments stepmother, freely admits she married the Broadway production has been are the astonishing costume transfor- Cinderella’s late father for money— fleshed out with other, lesser-known mations, all of them staged a vista, and the prince, named Topher, is Rodgers and Hammerstein songs. engineered by designer William Ivey insecure in his royal role, leaving him Prince Topher’s existential dilemma is Long.) Instead, the impulse was to subject to the manipulations of laid out in “Me, Who Am I?”, which create a complete, coherent fairy-tale Sebastian, his amiably corrupt prime was cut from the rarely seen world that draws the audience into minister. (The prince is also an Photo: Carol Rosegg backstage musical Me and Juliet. its embrace.

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elegantly dressed woman in a forest. He also loved the colors in Brueghel’s paintings—you can see that influence in the village scene and also in William’s costumes. Also, he didn’t want any blackouts; instead, he wanted the scenes to flow from one to another. I think the trees helped us in that regard.” In fact, forest imagery is prevalent throughout Cinderella. The show curtain is a set of trees placed downstage, which slide open to show the forest where Topher sings “Me, Who Am I?” while slaying a giant (an actor on stilts) and a dragon (created using sound and lighting effects). There are four sets of traveling trees, A forest motif is used throughout the show, beginning with the show curtain, seen in plus forest portals, that inform the model form above. look of virtually every scene in the show. When the action moves to the Into the woods wanted it to always be grounded in palace, Louizos added four half- The tone of Cinderella is set by the world of the forest,” Louizos arches that move around the stage Anna Louizos’ scenic design. says. “He had a number of images and form various configurations; even Interestingly, she didn’t draw on any that supported this idea: One though they are elegantly sculpted well-known illustrators from showed a forest with chandeliers pieces of architecture, they are children’s literature. “Mark [Brokaw] hanging in it and another with an anchored by trees. Similarly, trees are Photo: Carol Rosegg The half-timbered look of Cinderella’s cottage gives it a suitably rustic feel, making it seem like an organic part of the forest.

66 • April 2013 • Lighting&Sound America used to frame the interior of Cinderella’s cottage. There’s a practical reason for the forest motif. “We didn’t know for quite a while which theatre we’d get, and when we knew it was going to be the Broadway”—which seats 1,761—“we had the challenge of a very large house,” Louizos says. “When you are in the auditorium, it sometimes feels very far from the stage; we were concerned that we might lose the intimacy of the story if we didn’t find a way to draw people into the setting. At the same time, we needed plenty of room for dancing, especially in the ballroom with the big dresses that William designed. And Mark’s sensi- bility is somewhat minimalist; he likes to see only a few pieces on stage.” Louizos says her initial strategy was to design a dimensional proscenium that would be built out into the The interior of Cinderella’s cottage shows Madame’s flair for the French Provincial style. auditorium, framing the action with trees and vines. This was ultimately a more exciting life. Marie turns a pumpkin into a coach deemed too expensive; instead, she For the transition to the cottage with horses. This occurs in front of employed a variety of moving pieces, interior, the cottage revolves to Cinderella’s cottage; behind the assembling them to create locations become the fireplace, a door unit upstage wall, a pumpkin appears to that would push the action downstage, comes onstage from stage left, an grow and bursts open revealing the creating a feeling of intimacy for the upstage wall rolls on, and a roof flies carriage, a dazzling structure, that, longer book scenes. When the time in. The interior is furnished in what Louizos says, is “made of steel and comes for the big choreographed looks like the French Provincial style, hand-sculpted shapes that were built numbers, it is relatively easy to clear with an elegantly carved dining table by [the Cornwall, New York-based the stage. and chairs, a fortepiano, and a china scenic specialist firm] Costume In the opening sequence, the trees cabinet with many pieces on Armour. The horses are hand-carved rearrange themselves to make various display—all of them signs of also, with vine-shaped body parts”— forest locations as Topher performs Madame’s pretensions to gracious there’s that forest motif again—“that his heroic feats. The yard outside living and all of them in conflict with are attached to the structure’s frame; Cinderella’s cottage includes the the cottage’s essentially rustic nature. their mechanics are attached to a exterior of that building, a pair of trees Even so, the forest motif continues; pedal that makes the horses’ legs (out of which appear puppets of a fox you can see vines overlaid on the move.” The horses are also covered and raccoon, Cinderella’s forest painted walls. It’s as if the forest is with more than 1,000 points of fiber- friends), a stone well, a harvest quietly taking over the artifice of optic lighting. wagon, and a low upstage wall with Madame’s home. To facilitate In contrast, the palace scenes are pumpkins on it; we also see the intimacy, “the house interior is defined by a select number of large- wagon pulled by Cinderella and basically an all-in-one scene,” scale scenic elements suggesting a attended to by Marie, the local Louizos says. The town square, marble interior. “The staircase was a madwoman. The half-timbered look of where Jean-Michel’s call to arms is challenge because Mark doesn’t like the cottage gives it a suitably rustic drowned out by announcements that symmetrical stage pictures,” Louizos feel, making it seem like an organic Prince Topher is throwing a ball, says. “It travels on a curved track and part of the forest. There is also a little consists of two half-timbered pivots to meet the upstage balustrade nook in front of the house where buildings and a few pushcarts. platform, with a telescoping landing Cinderella sings “In My Own Little Magic appears during the big first- that bridges the gap. It’s a big piece of

Photos: Carol Rosegg Corner,” in which she dreams of living act transformation scene in which scenery to bring on stage a vista; Josh

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Above and below: Cinderella’s carriage. The horses are hand-carved, with vine-shaped body parts attached to the structure’s frame and mechanics attached to a pedal that makes their legs move. The horses feature more than 1,000 points of fiber-optic lighting.

segments that are hinged; as they move offstage on a curved track, they double back,” folding into place like train cars. Also, “the four half arches can revolve and travel independently to make different configurations.” Of course, no Cinderella is complete without a clock to tick down the minutes to midnight, and Louizos has designed a beautiful wrought-iron clock face that appears at upstage center. And when the time comes for the couples at the dance to take part in a romantic waltz to the music of the ballad “Ten Minutes Ago,” three chandeliers and a star drop plus a deep blue wash by the lighting designer Kenneth Posner, are enlisted to create the right mood. For the final scene, the wedding of Cinderella and Topher, the staircase [Rhodes] did a great job with swirling movie house, space is at a premium, moves to center stage, and the dances downstage as the pieces and storing scenery in the wings was balustrade hinges open to allow the come together.” Because the an impractical idea. Thus, adds the happy couple to make their entrance.

Broadway Theatre was originally a designer, “The balustrade travels in The scenery, except for those pieces Courtesy of Anna Louizos Image:

68 • April 2013 • Lighting&Sound America Because of wing space issues, the palace’s balustrade is in segments that are hinged to double back as the piece moves offstage.

by Costume Armour, was built by that she creates a fantasy world that make this story feel intimate in a Hudson Scenic Studio, of Yonkers, is both magical and of this earth. Broadway house of this scale? How New York and ShowMotion, of do you focus on those two characters Milford, Connecticut, with automation Moonlight at midnight [Cinderella and Topher] and tell their by Hudson. Rose Brand supplied the Asked why he chose to design the story?” One key to this problem is the soft goods, including some Ink Blue lighting for Cinderella, Kenneth extremely delicate use of followspots Crescent velour drapes, a scrim, and Posner says simply, “How often do to pull the leads out of the stage the clock face, which was digitally you get the chance to do a Rodgers picture. This required the installation printed on RP screen material. Props and Hammerstein musical on of a dedicated followspot catwalk. are by Jerard Studio, Prop n Spoon, Broadway?” Like Louizos, he sees “I’m not the first person to do this in and BrenBri Properties. Cinderella as having “the feel of a the Broadway Theatre, but that’s Louizos notes that, with so much vintage show but with modern where I invested much of my scenery in motion, the over-the-stage panache. The conceit was to rely on budget,” he says, adding that the area is particularly crowded; at the old-school stagecraft.” As a result, he new position created a much steeper same time, room had to be made for says, his goal was “to reveal every- angle for the followspots, allowing the flying system, from Flying by Foy, thing as elegantly as we could.” It’s a them to be worked into an overall on- which is used to make the trans- case of mission accomplished: stage look with extra finesse. There formed Marie soar over the stage. Posner’s lighting is seemingly are three Lycian units on the catwalk. The designer adds that all of Marie’s invisible—you will look in vain for The second biggest challenge flying takes place on one track, which elaborate cues or eye-grabbing involved the fact that Posner’s lighting made it relatively easy to clear a path effects—and yet everything on stage design relies to an enormous degree for her travel. seems to glow with an incandescent on sidelight, especially during the Again, says Louizos, “It needed to light of its own. extended dance sequences and forest feel real,” and indeed the most signif- Like Louizos, Posner says his scenes. However, he notes, “There is

Photos: Carol Rosegg icant achievement of her design is biggest challenge was, “How do you basically no wing space in the theatre;

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Four half-arches form various configurations; they are anchored by trees and include intricate ironwork reminiscent of vines.

when the scenery moves off, it has to highlights them. “In each case, we go “make the cueing as subtle and lyrical telescope and move upstage.” from a single followspot to a full as possible.” Of course, he adds, Therefore, “the sidelight is carefully overlay on Vicky or Laura to underline Rodgers’ lilting music was an cued to let the ladders fly up and the transformation.” enormous help in this endeavor. down, accommodating the scenery.” Posner’s treatment of the costumes The designer’s plot mixes a Adding to the lighting’s subtlety can be seen in the sequence that standard package of conventional was Posner’s use of a limited color begins with “Ten Minutes Ago” and units with a mix of Philips Vari*Lite palette. “It is driven by William’s continues into “Waltz for a Ball.” As the VL3500 Spots, VL2500 Washes, and costumes. Early on, he took me couples circle the floor, with the ladies Martin Professional MAC 2000 through the design,” which ranges in their sumptuous gowns at times Performance units, the latter of which from dirty, dingy grays and neutrals literally floating in the air, Posner’s were used on the sidelight ladders. for the peasants to pastels for the meticulous sidelight gives extra shape Posner says he found them useful in royals. “All of my colors were pulled and dimension to the performers’ this position because “I could do out of William’s palette.” Interestingly, silhouettes, combining with the music shutter cuts with them.” Lighting is the a-vista costume transformations and choreography to create a dream of controlled by an ETC Eos, designed by Long—when mad Marie romance. His sidelight also adds a programmed by Timothy F. Rogers. becomes the fairy godmother and great deal to “The Pursuit,” in which Cinderella underwent fairly two separate instances of Cinderella the prince and his men race through extensive changes during previews, going from rags to elegant ball gowns the forest, searching for Cinderella. losing 20 – 25 minutes and a couple in a matter of seconds—are so Throughout the show, the designer of numbers. However, Posner says he brilliantly done that Posner further says that he worked intensively to was prepared to handle this. “When I Photo: Carol Rosegg

70 • April 2013 • Lighting&Sound America Posner’s use of sidelight subtly sculpts the performers in an extended waltz set to the music of the ballad “Ten Minutes Ago.”

construct a show, it’s done in such a Brokaw, it was interesting to learn way. That being said, because of all way that one can delete segments or that we weren’t required to razzle- the wall treatments that have been put move them around in a cue dazzle the audience” with the latest in over the years, the room is acousti- structure.” He adds, laughing, “The effects, he says. “It’s a very elegant cally very dry, which is a great anxiety comes in when you’re doing it production, which, interestingly, advantage for an amplified score. It’s 45 minutes before a performance.” doesn’t seem to disqualify us with a bit tricky for a show with Rodgers Still, it’s clear that he considers the younger audiences.” (Far from it; from and Hammerstein songs, however.” entire experience to have been a its first full week of previews, One significant advantage, happy one. “We all wanted to celebrate Cinderella joined the elite club of Steinberg adds, are the orchestra- Broadway musicals of the ‘50s and Broadway musicals earning more tions by Danny Troob, with additional ‘60s. I feel really fortunate to have than $1 million weekly.) contributions by Bill Elliott, Doug worked on it. Shows like this don’t And once again, Steinberg faced Besterman, and Larry Hochman. In come along very often in one’s career.” the same challenge as his colleagues: classic Broadway fashion, they rely how to create a feeling of intimacy. on underscoring by the strings during There’s music in you “The Broadway is one of the bigger the vocal parts, with the brassier Along with Louizos’ classic scenery houses, seat-count wise, and the sounds reserved for the musical and Posner’s simple, yet sophisti- mezzanine area is particularly vast,” bridges and dance numbers. “That’s cated, lighting, Nevin Steinberg’s he says. “Just from the point of view the key thing,” he says. “I can’t tell sound design has a pleasant trans- of geometry, that requires a lot of you what a relief it was to hear those parency not often found in this age of attention. The question was how to charts at the orchestra rehearsals. high technology. “In talking to Mark get audio to all the seats in a plausible They don’t just make my job easier; Photos: Carol Rosegg

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they make it possible.” combination of d&b E3s and E0s and inputs in the orchestra as well, plus Still, his loudspeaker layout L-Acoustics 108Ps. A surround effects and playback.” Sound effects, required considerable thought. “The system consists of EAW JF60s. More including the clock’s toll at midnight paradox of a show that wants to of the EAW units are built into the set and the dragon in the opening scene sound natural in a large space is the for spot effects. Foldback is provided are controlled by QLab. fact that you need to be very careful by JF60s and EAW UB12s. Steinberg adds that getting “the about where you amplify the sound It’s an eclectic lineup, but, as first ten minutes right was pretty or, put another way, how you amplify Steinberg says, “Different manufac- exciting. We spent a great deal of the sound over the distance required. turers have different strengths. time dialing in Topher’s battles with I’m not a huge fan of line arrays on Sometimes, if you want your PA to the giant and the dragon. Early on in the proscenium, but for Cinderella I have the same character, you may the process, there were even more put in two of them so I could want to use the same manufacturer creatures to bring to life. It was a basically shade the amplification from across the board. But I’m not tremendous effort on everyone’s part the back to the front of the house.” convinced that this is always an to deliver something that was exciting and fun with sound and lighting. “If you want your PA to have the same charac- Except for the giant, the entire ter, you may want to use the same manufactur- sequence is all about lighting and sound effects.” In any case, he adds, er across the board. But I’m not convinced that the mantra was “the constant this is always an effective approach.” –Steinberg adherence to creating something that was natural and comfortable, that These line arrays consist of L- effective approach. Even inside a drew the audience in.” Acoustics KIVA loudspeakers and company, not all boxes sound alike.” Additional production personnel KILO subs, all chosen for their Given the extensive use of millinery include Hilary Noxon (associate scenic compact sizes. He says, “I’ve never in Long’s designs, aided by Paul designer), John Viesta (associate been quite happy with the sound of Huntley’s elaborate wigs, mic lighting designer), Jason Crystal big line arrays up close, and I didn’t placement was a bigger-than-usual (associate sound designer), Donald want something so overwhelming that challenge. “Thanks to early conversa- Oberpriller (production carpenter), it would draw focus. At one point, the tions with William and Paul, we were James Maloney (production speakers were going to be hidden able to negotiate all of these issues electrician), Timothy F. Rogers (lighting under a dimensional proscenium early in the process. Hats and masks programmer), Justin Rathburn designed by Anna, but when that [worn in the ball scene] were potential (production sound engineer), Jeff went away, all of the speakers were problems, not to mention the Brewer (head electrician), Scott Silvian exposed. It helps that they are some costume transformations. We knew it and Bob Biemers (deck sound) Jake of the very smallest line array was coming and were able to discuss Scudder (advance sound), Aimee B. elements available.” it in advance. I can’t say enough Dombo (assistant scenic designer), Located at the center of the about the collaboration with William Nick Solyom (assistant lighting proscenium is a split cluster of Kiva and Paul and their staffs in solving designer), Emiliano Pares (production and Kilo boxes. “They’re focused to these problems.” properties supervisor), Peter the left and right for the main floor,” The cast members are heard via Drummond (head properties), Eric Steinberg says. “Also on the same DPA 4061 capsules, aided by Castaldo (assistant properties), and truss are two Kiva/Kilo lollipop Sennheiser MK5212 transmitters and Hyun Ju Kim (sound intern). clusters split left and right, for the em-3732 receivers. The orchestra is Cinderella posted robust grosses mezzanine.” In addition, he notes, miked with units from Audix, DPA, from its earliest performances. And “Because of the catwalk for the Shure, AKG, Neumann, with Radial for good reason: By creating an followspots, the path from the and BSS direct boxes. Vocal and illusion of simplicity, the show’s proscenium to the mezzanine is partly orchestra reverbs are managed by TC designers are giving young audiences cut off, so I put d&b audiotechnik Q- Electronic M3000 and TC 6000 units. an object lesson in the delights of the Series boxes on a truss just Sound is controlled by the DiGiCo classic Broadway musical style. downstage of the lighting bridge.” D5T console. “We have a big cast Front fill is supplied by d&b E3s. and a sizable orchestra,” Steinberg For a Cinderella bonus report, go to Rounding out the rig are Meyer says. “We’re running live with 28 www.lightingandsoundamerica.com/ Sound 600-HP subs and, for delay, a wireless lines on stage and over 50 LSADigitalEdition.

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