Everyone wants some kind of fairytale to play out in their lives at some stage. With a popular one taking the stage at the University of Melbourne’s Union Theatre – courtesy of the students of the university’s Conservatorium Opera and Orchestral Performance and VCA Design and Production departments – for all those involved, it could be said, a fairytale is coming true.
Cast and creatives received a rousing ovation at Wednesday’s opening night for what was a dazzling, delightfully sung Cendrillon. Driven by a spirited cast, amusing choreography, buoyant music and a splendid palette of pastels, the fairytale emerged blissfully, pantomime-like, for the stage.
French composer Jules Massenet’s Cendrillon (1899) is full of charm and whimsy. You know how it goes. Oppressed by her vain stepmother and selfish stepsisters, the fairytale’s young heroine dreams of love and freedom.
With the help of her fairy godmother’s magic, she attends a royal ball at which she and the prince share an instant attraction that begins a love story – although disrupted by midnight chimes then aided by a glass slipper — that seals a happy-ever-after future.
Massenet’s full-length version shimmers with tenderness and fantasy. Here, it’s an abridged version suitably conveyed by Andrea Katz with an orchestral reduction that includes cuts that, however, occasionally give a sense of abruptness from one scene to the next.
Nevertheless, it’s a perfect vehicle for developing young artists with its good mix of vocal challenges for a raft of characters and filled with opportunities for acting flair and ensemble work.
Director and choreographer Johanna Allen brings a deft theatrical hand to the production, shaping it as both fairytale and satire. Finding resonance in our contemporary culture, neatly addressed and balanced are the fixations upon looks and social climbing on the one hand and sincerity of heart on the other.
Allen also highlights the opera’s comic elements with choreography that keeps the ensemble agile and expressive from start to finish without sacrificing emotional integrity.
Whether it’s the household servants labouring away with their chores, the fairy godmother’s attendants fluttering through magical sequences or the stepmother and her two daughters’ hilariously exaggerated posturing, the stage is kept alive with energy.
Adding to the liveliness, Ivy Miller’s set design embraces simplicity and imagination. A white background wall with its three arched openings provides entrances and exits adding to those from the wings. The few furnishings, all in white, include a chaise lounge, and a dining table and chairs on rollers that ingeniously become Cendrillon’s coach, drawn by an ensemble of four attendants and their hobby-horses.
A cascade of chandeliers descend at key moments, adding sparkle to the ball. What also descends is Cendrillon’s expansive glittering dark gown that docks upon her for a magical transformation – Maya Anderson’s costume designs are superbly envisaged and executed.
In their playful interpretation of centuries-past French elegance with a palette of pastels for the aristocrats and greys for the servants, it could be said just how much her costumes reflect Massenet’s glinted score. Richard Vabre’s vivivd lighting design certainly assisted in bringing out that quality as well.
The opening night cast dug deep and sounded well-coached by Linda Barcan in their French delivery. A second cast performs on alternate nights that demonstrates the breadth of artistic talent available.
Appealingly pure-hearted as Cendrillon, Chloe Taylor offers a polished, angelic soprano accompanied by tender phrasing and assured control that generously expresses both pathos and dreamlike wonder.
In a pants role, Tessa McKenna’s Prince Charming is indeed charming – ardent and dashing, with a warm, buttery mezzo timbre that blends exquisitely with Taylor’s more lucent sound. While the work’s romantic highlight – McKenna’s duet with Taylor as love at first sight takes hold – has genuine heartfelt feeling, it seemed an odd choice, however, for the two lovebirds to be standing mostly well-apart from each other.
Anchoring the magic of the production with vocal precision and personality, Ashley Chua’s radiant Fairy Godmother opens the night to immediately enchant the audience, her breezy presence and flexible, shimmering soprano showing off some delightful effortless trills.
As part of the pronounced polka-dotted and flounced family trio, Brittney Northcott relished her time as Madame de la Haltière, her dusky tones and keen comic timing giving the role flavoursome bluster. And the stepsisters – Zoe Lancaster (Noémie) and Sophie McGetrick (Dorothée) – are a hit every time they appear, vocally strong and perfectly blended, their synchronized posturing and squeals earning countless chuckles.
Warm baritone Isaac Burgess does a fine job as Cendrillon’s unfortunate, henpecked but sympathetic father, Pandolfe.
Among the supporting cast, Zhuoyang (Sunny) Li – OperaChaser Award for Young Developing Artist 2023 – impressed once more as the King with his regal bearing and plush, resonant bass-baritone. He is ably supported by Kate Pengelly (Master of Ceremonies), Harriet Johnston (Prime Minister), Martyn Arends, (Dean of the Faculty and Royal Herald) and a vocally crisp and dramatically alert chorus who meet the work’s acting demands with verve.
Conductor Paul Fitzsimon leads the predominantly student orchestra of 11 (including two guest musicians) with finesse, drawing out Massenet’s delicate sonorities and maintaining adequate pace through the score’s shifting moods. While the orchestral playing was lithe and sensitive overall, a couple of audible minor slip ups couldn’t tarnish the sparkle on opening night.
Ultimately, this Cendrillon serves as an ideal showcase for the scope of talent within the Conservatorium and VCA programs. From the orchestra pit to the wings, the production displays artistry, imagination and a professional level of collaboration. And proof that clever design and movement can conjure spectacle without excess – all at a rare bargain basement price that can entice and enchant one and all.
Cendrillon
Union Theatre, University of Melbourne
Performance: Wednesday 5 November 2025
Season continues to 8 November 2025
Information: www.unimelb.edu.au
Images: The Cast of Cendrillon – photos by Ben Fon
Review: Paul Selar