Will you chip in to support our nonprofit newsroom with a donation today?
Yes, I want to support My MLTnews!
Wade James Theatre, 950 Main St., Edmonds
Performances: Nov. 21-Dec. 14, Thursdays through Saturdays at 8 p.m. and Sundays at 2 p.m. (additional Saturday matinees scheduled on Nov. 29 and Dec. 6 at 2 p.m.)
Tickets: Online or call 425-774-9600
Ages: 5+
Run time: 2 hours and 30 minutes, with a 15-minute intermission.
(As of Nov. 22, most dates are sold out. View performance availability and information about their ticket waitlist online.)
Megan Ruth Smith’s empathetic direction guides the Edmonds Driftwood Players (EDP) in a spirited, comic staging of the Broadway adaptation of Rodgers and Hammerstein’s Cinderella. Smith honors the story’s long history, from early 17th century versions to Rodgers and Hammerstein’s 1957 television film.
The production showcases the duo’s familiar score, and Douglas Carter Beane’s revised libretto turns the traditional fairy tale into a story of civic engagement and about finding the courage to be kind.
My Neighborhood News was on the scene to observe the performance as it unfolded. Opening night buzzed with anticipation. The lobby was filled with theatergoers of all ages. On stage, a pumpkin, a few white plush mice and a wicker broom signaled the familiar world of Cinderella, ready to be transformed.
The production opens with a large screen at the back of the stage, rolling Disney-style credits as the cast members introduce themselves, one by one, in song. The introductions include a bit of physical comedy, establishing the show’s playful tone. This is followed by a small shadow puppet box to the left of the stage, reminiscent of children’s theater, depicting the prince at a distance “slaying” the ferocious dragon and setting the story in motion.
With In My Own Little Corner, Ella (Miki Murray) steps into the light, singing with clarity and charm that recalls Julie Andrews in the duo’s 1957 television classic.
Comedy is everywhere, woven with precision into the fabric of the show. Sebastian (Tyler Below) and Lord Pinkleton’s (Ryan Vilbrandt) scuffle with an absurdly long invitation scroll elicits unrestrained laughter from the audience. The pair, with their seasoned slapstick and farce, provide consistent laughs throughout.
Marie (Anita Cannon) returns to EDP with a commanding presence, expressive comedy and Broadway-style vocal performances. Cannon is genuinely funny, and it’s clear how much care she brings to the role. Her onstage transformation from “Crazy Marie” to fairy godmother is impressive — her character and costume shifts are seamless and convincing.
Impossible, performed by Ella (Murray) and Marie (Cannon), offers a nod to Rodgers and Hammerstein’s classic as the magical transformations unfold: white mice become footmen behind moveable blocks, two shimmering horses appear and an ornate carriage rolls into view. Ella and Marie’s on-stage costume changes are so fast that it was impossible to discern their mechanics, bringing forth a collective “Woooh!” from the audience. The gown is not the iconic blue but the shimmering white dress worn by Julie Andrews in the 1957 classic, with both actors’ looks even evoking Andrews and Edie Adams.
Ella actually gets not one but two magical costume changes; the second is a dazzling golden gown. The on-stage quick changes are pure magic.
Murray dazzles with Ella, bringing a warmth to the role. I was especially struck by her ability to improvise flawlessly. When the broom slipped, when it ended up in the path of a dance number or when Prince Topher’s crown fell mid-Waltz, she used each mishap and stayed fully in character while radiating Ella’s “famous kindness.”
Prince Topher (Ethan Walker) is equally charming. He offers the sort of prince audiences expect: likable and open-hearted. Together, Prince Topher and Ella ground the production, blending their love story with playful comedy.
Madame (Tamara Ford) is an exquisite wicked stepmother. Every facial expression and movement conveys the narcissistic mother so convincingly that audiences can’t help but be drawn into her performance. Ford makes the character completely believable, and she keeps viewers on the edge of their seats with her presence like when she mockingly says, “She sits by the cinders of the fire, and her name is Ella. So I call her Cinder-Ella,” and “To battle! The crown is ours!”
Jessica Hamilton, appearing with EDP for the first time as Gabrielle, plays the kinder stepsister. She shines as Cinderella’s co-conspirator, friend and sister, offering a fresh take on Cinderella. As noted by my son, who was my guest for the night, “It’s good to see one of the stepsisters actually be nice.”
Charlotte (Lydia Salita, making her EDP debut) delivers impeccable slapstick and quirky humor. She makes the character’s jealousy and need for her mother’s approval believable, and her sassiness keeps the audience laughing throughout. Both my guest and I especially enjoyed her musical performance of “Stepsister’s Lament.”
Alexander Honeycutt, also returning to the stage after an eight-year hiatus, makes his EDP debut as Jean-Michel. Honeycutt creates a character audiences can root for as the well-educated idealist who rallies the townspeople. He also provides comic relief and is seen repeatedly standing on a soapbox and shouting, “Hello! I’m talking here!
In a playful nod to the lost slipper, all the ladies of the court remove one shoe — poking fun at the familiar story. In this version, Ella makes her own choices, and the “Venetian glass” slipper is perfect: sparkling, transparent and convincingly glass-like.
The ensemble contributes to the humor with playful absurdity and choreographed group numbers. Anna Doepp and Jesse Stoddard’s choreography maintain the show’s brisk pace and add visual interest. Despite the small stage, the large ensemble moves with energy and precision. Lifts, dance numbers, comedic timing and integrated singing showcase each actor’s strengths.
There’s Music in You, sung by Marie (Cannon), is Broadway spectacular. Duets between Ella (Murray) and Topher (Walker), such as You’re Beautiful?, were heartwarming, eliciting smiles and collective “awws” from the audience.
The stage and scene transitions were perfected, often occurring while actors sang and performed, with music continuing uninterrupted. The scenes flowed with brisk pacing and energy, never losing momentum. Tom Williams’ scenic design with painted trees that collapse inward to transition between indoor and outdoor scenes as well as moveable props that easily roll on and off the stage, add to the seamless fluidity.
Shellie Moomey’s bouncy ball gowns are a confection of voluminous dresses, complete with large bows, feathered hairpieces and poofy sleeves. Each piece feels unique and reminiscent of Disney’s Cinderella.
Musical direction under Leigh Lindell is exceptional and Assistant Music Director Royce Napolitano conducted from a small screen at the back of the theater, expertly guiding the actors through the various numbers, ensuring smooth musical timing. While the video cues very occasionally held a song, the actors’ improvisation and comedic instincts more than compensated, maintaining a lively, fast-paced and engaging performance.
By the final bow, the house was on its feet cheering, delighted by a fairy tale transformed through nonstop comedy and a heartfelt performance.
The sense of community, paired with Broadway-caliber performances, is a testament to Edmonds Driftwood Players’ longevity. Celebrating its 67th anniversary, this volunteer-based nonprofit is one of Washington state’s oldest continuously operating community theaters, reminding us why supporting local arts matters.
Real first and last names — as well as city of residence — are required for all commenters.
This is so we can verify your identity before approving your comment.
By commenting here you agree to abide by our Code of Conduct. Please read our code at the bottom of this page before commenting.