Cinderella - 8.5 out of 10 stars
South Coast Choral and Arts Society
Tickets: Cinderella | TryBooking Australia
The South Coast Choral and Arts Society delivers a
refreshing and well-meaning production of Cinderella to the stage,
directed by Eloise Morriss. Working closely alongside her creative
team—Leila Britton (choreography), Emma Muhlack (vocal work), Ali Dunbar (vocal
work), and Tim Wormald (musical direction), Morriss delivers a warm and
engaging retelling of this beloved Rodgers and Hammerstein fairytale.
From the outset, it’s clear the ensemble members are an
eager and capable force within the production. The vocal work across both
ensemble and principals is consistently confident and controlled—a tribute to
the dedication and skill of Muhlack and Dunbar. Supporting them, the band operates
with vigour and precision under Wormald’s tight musical direction. The
musicians handle Rodgers and Hammerstein’s iconic score smartly, ensuring songs
shift fluidly between scenes.
Megan Davis as Ella is the heart of the production. Cinderella
marks Davis’s first musical appearance—impressive, given the complexity of the
role and the demands of carrying the show’s central narrative. Davis’s
performance is charming and heartfelt, radiating warmth and sincerity that
feels authentic to her own personality. Davis' vocals match her acting
strengths with consistent clarity, meeting the challenges of the score with
ease, while her willingness to embrace choreography showcases her versatility.
If this production is any indication of her future, the Adelaide theatre
community may indeed have a new powerhouse in its midst.
Opposite Davis, Harrison Golledge plays Prince Topher with
an appealing blend of naivety and charm. Golledge’s stage presence is engaging,
and he moves with ease around the set, delivering a likeable royal who charms
both Ella and the audience. His comic timing shines in smaller moments with his
staff, while his rendition of “Do I Love You Because You’re Beautiful?”
effectively cements his character’s romantic sincerity and “good guy” persona.
Josh Barkley’s Sebastian—the guardian figure who raises Prince Topher following the death of his parents—is another highlight. Barkley
demonstrates a clear sense of his character’s journey from start to finish,
shaping Sebastian with authority and purpose. While the hinted collusion between Sebastian and Madame is ultimately left unexplored,
Barkley provides an impactful performance supported by strong stagecraft
and confident delivery.
Georgia Martin steps into the role of Madame with poise and
clear character choices. Although there’s room for her portrayal to lean
further into the antagonist’s darker side, her rich vocals and well-structured
performance ensure she commands attention whenever she’s present.
Opposite her, Jemmah Sims and Leila Hollingworth bring
genuine individuality to Charlotte and Gabrielle, sidestepping the outdated
“ugly stepsister” trope. Sims relishes her big moment in the Act Two
opener “Stepsister’s Lament,” leading a buoyant and powerful ensemble number
that grows in intensity as village maidens join in the spirited movement. Hollingworth’s
Gabrielle adds emotional interest to the production via her secret romance with
Jean-Michel, portrayed by Daniel Cooper. Cooper’s comic instincts and delivery
are pitch-perfect, earning audience affection while enhancing the subplot with
clever physical and verbal humour.
Matilda Boysen takes on the role of Marie with grace and precision. Her consistent accent and strong vocal control establish her as another standout, and she navigates the shift in her roles with charm and assurance, while Angus Hislop brings Lord Pinkleton to life with moments of wit that break the tension, though occasional projection issues make him harder to hear in certain scenes. His “weather and sport report” aside draws a knowing laugh, showcasing his knack for subtle comedic beats.
Britton’s contribution is integral to the show’s pace and
visual movement. Her choreography strikes a well-considered balance between
accessible formations for less experienced dancers and more complex sequences
that challenge the polished performers in the cast. The knights’ playful battle
early in the show sets a lively tone, while Act Two’s “The Pursuit” builds
adrenaline and narrative drive through energetic movement. Featured dancers
Eliza Altumara (Fox) and Jasmine Hutchinson (Raccoon) display precision and
expression, while the younger children playing Cinderella’s mice add adorable
charm to the fairytale’s magical elements.
Visually, the set—designed by Morriss, Jonathan Ogilvie, and
Lukas Barker—is restrained yet functional, allowing the performers space while
incorporating key thematic elements. The staircase serves as the pivotal
centrepiece for grand entrances, while the onstage clock—manually operated by
stage crew—remains a whimsical reminder of midnight’s importance. Occasionally,
the clock’s movements lag behind the story’s pace, causing slight disruptions
to the scene’s rhythm, though these moments are rare. Additional scenic pieces
include painted flats depicting woodland trees, the interior and exterior of
Cinderella’s home, and a charming onstage piano, which provides Charlotte with
a playful, whimsical moment, and of course the pumpkin coach.
Lighting is serviceable for the overall tone of the show,
although hesitant cues draw attention during certain scenes. Sound quality is
the one notable production challenge—there are moments when the sheer vocal
strength of the principals and ensemble through their microphones push beyond what the ’s
speakers can handle, making lyrics harder to discern during loud sequences.
This is less a reflection on the cast’s abilities and more indicative of the equipment
within the venue.
Costuming is one of the most satisfying elements of Cinderella.
The wardrobe team has delivered garments that evoke the late-1800s setting,
from the elaborate gowns worn by Gabrielle, Charlotte, and Madame, to the
period-appropriate outfits of the ensemble. Cinderella’s magical
transformations are costuming highlights, garnering audience approval.
Beyond individual performances and technical achievements,
Morriss’s direction steers Cinderella with sincerity, embracing the
show’s themes of kindness, transformation, and perseverance.
South Coast Choral and Arts Society’s Cinderella celebrates local talent, embraces collaborative creativity, and gently modernises its characters without dismantling the classic structure of the tale. With confident performances, heartfelt delivery, and flashes of real stage magic, Morriss and her team have crafted an interpretation that will delight audiences while giving its cast valuable experience and memorable moments. For those lucky enough to attend, Cinderella delivers what a fairytale should—hope, magic, and the joy of believing dreams can come true.
- Andrew Broadbent
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