Cinderella is glittering from head to toe; her fairy godmother approaches, looking like she wants to take a juicy bite out of the younger girl. Homoeroticism abounds – Rodgers and Hammerstein this is not. Company XIV’s Cinderella is a wild party complete with stunning aerialists, an evil Step-Mother (Davon Rainey) clad in the highest bondage fashion, and one sexy fairy “godmother” (the sultry Katrina Cunningham). There is so much brilliance going on in company founder Austin McCormick’s production, which he conceived, choreographed and directed, that you just need to forget everything you know about the fairy tale.
While the “baroque burlesque ballet” Cinderella turns all your notions of the classic story and classical dancing topsy-turvy, make no mistake – though the performers are wearing corsets and fishnets, the dancing is the real thing. Some dancers even do double duty: singing opera while upside down on a stripper pole elevated eight feet above the stage for instance (an impressive Marcy Richardson as a Step-Sister); or Cinderella (Allison Ulrich) and the Prince (Steven Trumon Gray) making sparks fly as they perform together on an aerial hoop, their balletic moves melding as one. The beautiful, clear soprano of Brett Umlauf as the other Step-Sister magically complements Richardson’s as they hilariously bumble around onstage. These artists are no joke.
But it’s the sensational Rainey who steals the show every time, not only by fabulously cross-dressing as the Step-Mother but also by making her the meanest, bitchiest queen around. Funny, sassy and belligerent, he remakes the persona of the Step-Mother as a bitter diva who didn’t get the Prince in the end. He’s also the only actor who gets to speak at all, albeit it is typically to dole out some vitriol. Everyone else is relegated to speech bubbles. He also gets some of the most magnificent costumes and possibly the most costume changes.
Speaking of costumes (costume design by Zane Pihlstrom), they are nothing short of awesome. Think of a Las Vegas showgirl à la Alexander McQueen. The headpieces alone are ingenious, some made from balloons and some from shoes. Many costumes leave little to the imagination, with little more than a thong and pasties. A particularly humorous piece involves turning the two Step-Sisters into one, conjoined by a grotesque, padded suit. Pihlstrom’s set design also has something of the erotic, as though you are seeing a show at Moulin Rouge circa 1905. A small carousel that serves as the platform for the aforementioned pole dancing gives it a carnival vibe. Sumptuous curtains and lighting (Jeanette Yew and Devin Jewett) add to the ambience.
Of course, no dance show would be complete without music design (McCormick). This one is particular noteworthy for its blending of classical (Offenbach, Prokofiev, Tchaikovsky), swing (The Andrews Sisters), showtunes (Irving Berlin) and contemporary music, including an operatic rendition of Lorde’s “Royals,” Lana Del Rey’s “Born To Die” and “Get on Your Knees” by Nicki Minaj.
Company XIV’s Cinderella is a gorgeous spectacle, a one-of-a-kind rendering of a beloved fairy tale, and just an all-around badass theatre experience. You won’t be able to resist the whole confetti and glitter-filled production.
