The original rags-to-riches story, most famously told by Charles Perrault, had already been adapted for stage and screen countless times before Richard Rodgers and Oscar Hammerstein II wrote their own version of Cinderella. Starring Julie Andrews, the made-for-TV musical was a smash hit and has since been remade twice, most recently with Brandy and Whitney Houston.

On the C.D. Hylton stage, Leanna Smithberger stepped into the title role with the grace and poise of a true princess. Her soft, musical voice was perfectly suited to the part. Jason Danby avoided a stereotypical Disney-esque portrayal of Prince Charming, instead playing the prince with quiet intensity and a smooth, wistful singing voice.

Jason Lester‘s jovial, childish King more than balanced out the prince’s solemnity. With perfectly timed physical comedy and a wide array of facial expressions, Lester milked laughter out of even the weakest punch lines. Gretchen Krupp balanced the glittery extravagance of the Fairy Godmother with warmth, humor, and a beautiful mezzo-soprano voice, while Jonny Cuesta as the Herald stole the show with his powerful singing and infectious enthusiasm.

Possibly the most entertaining performances were given by Jordan Ryals and Lacey Peter as Cinderella’s catty stepsisters. Their skills in the art of slapstick were especially notable in “Stepsister’s Lament,” the strongest number in the show. Ryals was particularly funny as the dimwitted Portia, all flouncing pigtails and obnoxious giggles.

Because the cast was so small, each member of the ensemble had a chance to shine, whether acting drunk (Connor Smith), sinister (Phillip Munck), flashy (Michael Bailey), or even self-conscious about smelly feet (Nayra Guevara). Although Terrell Washington only had a few moments of stage time as the footman, his ridiculous dancing and lip-synching made him one of the most memorable actors in the show. Ethan Murphy‘s rich baritone voice made him stand out in the small role of the Chef.

Although the lack of a real sound or lighting system was an obstacle to the production, the cast usually projected and enunciated well enough to be understood. The actors also handled slow, messy set transitions with the aplomb of professionals, although some ensemble members distracted the audience’s attention from lead actors at crucial moments.

While Cinderella is often regarded as one of Rodgers and Hammerstein’s least inspired musicals, the exuberant cast of C.D. Hylton’s production carried the show well. Enchanting, uplifting, and filled with humor and spectacle, Cinderella made for “A Lovely Night” for all.

by Megan Fraedrich of West Springfield High School

Billy Crocker (Reuben Schwartz) desperately pairs up with Moonface Martin (Malcolm Burke) and Bonnie (Cathy Roberds), notorious gangsters, to follow the love of his life, Hope Harcourt (Leanna Smithberger) and her bumbling English fiancé, Sir Evelyn Oakleigh (Jonathan Cuesta), aboard an oceanliner. Taking the ticket and passport of America’s most wanted criminal, Billy is constantly forced into different personas and costumes once the Captain (Andrew Rupert) and Purser (Jason Danby) realize an outlaw is on the loose. With the help of Reno Sweeney (Katherine Wilkins) to seduce Sir Evelyn, Billy’s attempt to evade his near-sighted boss Elisha J. Whitney (Michael Davis), and appearances from a confused pair of card-playing Chinese converts named Ching (Harry Hicock) and Ling (Andrew Connor Smith), Billy’s chase for Hope’s love is brought to a comical extreme.

Reuben Schwartz charmed the audience with his tap-dancing, a wide variety of accents, and his vocals. Showing a range from a mischievous impostor to a desperately hopeful lover, he worked through some physical awkwardness to produce an endearing character that easily became a crowd favorite.

Jonathan Cuesta’s captivating slapstick comedy was brilliantly executed. Never failing to stay in character, his facial expressions alone were enough to produce belly laughs. Coupled with his chipper deliveries and foolish mannerisms, Cuesta brought a vivaciousness unusual to a high school stage.

Articulation and diction were common issues, and although the orchestra drowned out many lines, the cast still persevered to create a whimsical mood onstage that radiated into the audience. Very simple choreography and an apparent discomfort with many actors’ physicality inhibited some of the play’s potential, but the actors still managed to show a clear understanding of their lines and the themes of the show. The cast also did a noteworthy job of creating believable chemistry among characters and providing a number of side-splitting scenes.

The literally designed set was aesthetically faultless. The multi-leveled set was created to look like a ship, and with its swinging white doors and blue sky backdrop, it gave off the perfect nautical vibe. With a dimmed stage, glittering lights gave the illusion of a night sky. Although the lighting was simple, it always was made to enhance the scene and not detract attention. The smallest details in the set, including nautical signal flags and shiny silver bolting, show a commendable amount of work and thought put into the set design.

Anything Goes provided catchy tunes and witty comebacks “all through the night.” Its comical aspects were challenging, but easily overcome by the skilled cast. Even with its setbacks, C.D. Hylton put on a production that was positively “delovely.”

by Grace Donovan of Osbourn

Written by Meredith Willson, The Music Man is set in fictional River City, where ‘Professor’ Hill is actually a con man, new to town, and looking for some easy money. Harold runs into his old ally Marcellus, and together, they con the entire town.

After over forty drafts, The Music Man debuted on Broadway in 1957 with the cast of Robert Preston, Barbara Cook and Eddie Hodges. Soon after, it moved to the Broadway Theatre where it closed after 1,375 performances. The Music Man was adapted to film twice; starring Robert Preston, Shirley Jones and Ron Howard in 1962 and Matthew Broderick, Kristen Chenoweth and Cameron Monaghan in 2003.

Kurt Hoffman as conman Harold Hill performed the popular show-stopper “Seventy-Six Trombones” with integrity and spark. Sparks flew between Hoffman and Allison Kinney (Marian) in the romantic love song “Till There Was You.” Kinney’s magnificent soprano vocals stunned the auditorium in “Goodnight, My Someone,” “My White Knight,” and “Will I Ever Tell You?”

Jonathan Cuesta as goofy Marcellus Washburn was a blast to watch. From his comic dance moves to his humorous character walk, he was always a spectacle to behold. Cathy Roberds as idiosyncratic mayoral wife Eulalie Mackecknie Shinn wasn’t afraid to shuffle and wiggle her way through her bumbling character part.

Whatayatalk? Whatayatalk? Whatayatalk? The highlight of the production was the Barbershop Quartet of B-Lam Ho, Joe Scott, Jim Smith and Daniel Gonzales. Choreographing and blocking the roles entirely themselves, the four actors handled themselves with humor and aplomb, even turning a mustache malfunction into a running gag. Ironically, Iowa quartet member, B-Lam Ho is an exchange student from Hong Kong studying here this year.

“Uniforms, too with a shiny gold braid on the coat, and a big red stripe . . .” Costumes designed by Carolyn Macleod were simple, yet effective. Everything from feather boas as lady suspenders to oversized, flamboyant hats turned this musical into a rainbow of fun. The “Pick-A-Little” ladies looked marvelous on stage in their coordinating brightly colored skirts.

The Hylton High School orchestra was near-perfect and never over-powered the actors’ vocals. When the boys’ band performed, they marched down the aisle with horns and drums upside down, backwards and inside-out producing an entertaining squeal.

After Harold is made as the conman, there is a slow realization, aided by Marian’s understanding of Harold’s ruse, that the Music Man has truly brought music into the hearts of every boy and girl in town.

by Chelsea Cook of Homeschool ITS.

This review was written by a Cappies high school critic. The Cappies were founded in 1999, for the purpose of celebrating high school theater arts and providing a learning opportunity for theater and journalism students. You can learn more at cappies.com.