KAYSVILLE — Rodgers and Hammerstein’s Cinderella opened at the Hopebox Theatre on Oct 2. The classic show featured the altered book by Douglas Carter Beane with an unending array of witty one-liners and a more nuanced worldview. The setting was gorgeous, the music lovely, and the message inspiring. The show embodied the message of the Hopebox Theatre. Each show is a tribute and a fundraiser for a community member struggling with cancer. This production was dedicated to Alan Goodfellow.
Editor’s Note: Production Photos have not yet been received by UTAJ. When they are, they will be added to this review. Photos can be provided through this form.
Cinderella follows the age-old story of a kind young girl who is forced to serve her wicked stepmother and stepsisters. All she wants is to feel beautiful at the prince’s ball, and her fairy godmother steps in to transform her rags into a ballgown, her pumpkin into a carriage, and give her shoes of glass—but only till midnight. The prince falls for Cinderella but she runs away when the clock strikes 12 and the magic runs out. Using the glass slipper Cinderella left behind, the prince finds her and they live happily ever after. The updated version features a young revolutionary named John-Michel who fights for justice for the common people and with the prince’s help becomes prime minister by the end.
The stage was set with three sets of moveable panels. Each panel functioned like a larger-than-life storybook, with pages that turned on a hinge. This way the set could be switched between settings easily by the cast. These panels hid entrances and exits, so when the right ones were in place the cast could appear from new doorways. All the set pieces were painted by Ashley Collins-Dowse, Sarah Erickson, Chrissy Andreasen and Emma Hale. The set was a dreamy fairy-tale painted in retro-saturated colors that mimicked early animation. The chunky cartoonish lines with overdrawn elements brought the scene a level of whimsy fitting for Cinderella. The best piece was easily the pumpkin carriage that whisked Cinderella off to the ball. The detail was stunning, as was the fact that the whole thing rolled on wheels and Cinderella was able to actually sit inside it. It seems there was some collaboration between the scenic painters and prop artisan Raquel Davis, and it paid off. There were also a few woodland creatures who showed up in puppet form and who added a charming presence to the show. These props really tied it all together.
There were other effects that added to the atmosphere of the show. The lights changed colors during various scenes, such as a soft blue while the prince and Cinderella danced. There was also a perfect spotlight on the glass slipper that was left behind. The shimmering strobe lights and fog machines increased the air of magic when the fairy godmother was transforming everyone for the ball. The lighting was handled by Darren Maxfield.
Costumer Shelbi Raynor did a fabulous job of creating three outfits that could transform onstage. A series of magnets and ribbons could be pulled off to turn Cinderella’s rags into a shimmering white ballgown, the fairy godmother’s crazy hag disguise into a pink dream gown, and once more turn Cinderella’s torn dress into a glimmering beaded golden work of art. It was especially impressive given that the show was double cast, meaning the dresses had to fit multiple cast members and still perform these quick changes.
Choreographer Dylan Watson and director Marinda Maxfield certainly had their work cut out for them, working with a relatively cramped space. However, with their blocking and choreography, the space felt intimate, never overcrowded. It was impressive how the dancers twirled around one another but never bumped into each other during the more technical numbers, like “Ten Minutes Ago”. The chase for Cinderella as she runs from the ball was incredibly entertaining, and the space didn’t limit this at all. The actors found creative ways to dodge and weave between one another without it feeling overly repetitive.
Hillary McChesney played the wicked stepmother with a deadpan bravado that had me cracking up the entire show. She used dry humor to her advantage, along with a hilarious way of pronouncing words. Sometimes all it took was a scathing look from McChesney paired with an overembellished phrase to send much of the audience dying with laughter. Alexa Thomas played the wicked stepsister with a pouty airheaded flair that was hilarious in its own right. Thomas’s rendition of the “Stepsister’s Lament” was one of the best songs in a show filled with good music.
Brianna Skeen played the fairy godmother and her voice was incredible not just for its quality but for the passion behind it. Skeen sang “Impossible” with such fervor that it felt like truly anything was possible. Jennica Johnson played Cinderella with a demure quality. She hit every note with precision and her movements were practiced and poised.
The chemistry between Davin Loveland (playing Jean-Michel) and Emma Rosenlund (playing the kinder stepsister Gabrielle) was sweet and refreshing. Though their attempts at romance were clumsy or perhaps unconventional, it was clear that the pair worked well together. They fed off each other’s energy and were entertaining to watch.
Perhaps the most fulfilling part of the show was to hear and see the joy it brought to those around me. The gentleman behind me lost it more times than I could count, laughing heartily. The intimate space combined with the low lighting means you can see your audience members at all times, and the cast can see you. This gave a sense of camaraderie to the whole affair. The Hopebox strives to serve its community and bring people together. They did just that with a delightful night of music and dancing that showed a little kindness can go a long way.
Editor’s Note: This reviewer attended a performance on October 2, 2026. This show is double cast with alternating actors on alternating nights. This review covers the Silver cast.
MORE INFO: CINDERELLA is currently playing at the Hopebox Theatre (1700 Frontage Road, Kaysville, UT 84037). Performances are held at 7:30 PM on Mondays, Wednesdays, Fridays, and Saturdays, with 2:00 PM matinees on Saturdays through October 30, 2026. Tickets for Cinderella typically range from $18 to $23. This production features two alternating casts. While the website does indicate which cast performs on which nights, that is subject to change. If you are coming to see a specific performer, please double-check their dates with them directly before booking. For the most up-to-date schedule, performance details, and official ticketing, visit the Hopebox Theatre website: https://www.hopeboxtheatre.com
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