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Regional Reviews: Phoenix Ever After Also see Gil's reviews of Over the River and Through the Woods and Angels in America: Perestroika
The plot will be familiar to anyone who knows the "Cinderella" tale by the Brothers Grimm, although there were some nice original touches added for the film screenplay co-written by Susannah Grant and Rick Parks that are carried over here. Danielle, whose father remarried when she was young and then passed away, is living with her stepmother, Baroness Rodmilla de Ghent, and her two stepsisters, Marguerite and Jacqueline. Danielle has basically become a servant for her step family who don't always treat her very well. Over at the castle, Prince Henry is facing a big problem. He's set to marry the Princess of Spain in an arranged marriage, but he has never met her, so he manages to convince his parents, with the help of a visiting Leonardo Da Vinci, to let him choose his future wife himself. His parents give him the five days until his wedding day to do so, and when he stumbles upon Danielle, dressed as a noblewoman to save her friend Gustave from being sent overseas, it's love at first sight. Complications ensue when the scheming stepmother has plans for the Prince to marry her daughter, but Da Vinci, who serves as a fairy godmother of sorts, is on hand to help the lovebirds get their happy ever after. Like the film, Ever After explores themes that will resonate with just about anyone, such as the power of resilience and the importance of choosing one's own path rather than accepting the limitations imposed by society. It also touches upon self-determination, compassion, intelligence, and courage over traditional fairy-tale conventions, presenting a heroine and other characters whose strengths come from their own independence and sense of justice instead of just the standard fairy-tale trope of a woman looking to marry a prince. Interestingly enough, the recent 2013 Broadway revival of Rodgers and Hammerstein's Cinderella also gave a fresh look at the Cinderella fairy tale with many of these same modern updates, especially concerning the value of kindness, the intelligence of its leading lady, class divisions, and the search for personal identity. The book by Kate Wetherhead keeps most of the film plot intact, with a few fun changes that will provide some fresh moments to those already familiar with the movie. The score (music by Zina Goldrich and lyrics by Marcy Heisler) is bright and bold with a nice variety of songs and solos that not only build character but keep the plot moving forward. It appears there have been several changes in the score when comparing the song list for this production to those for the previous runs at the Paper Mill Playhouse and the Alliance Theatre, while Wetherhead's book is also new after the two previous productions (Heisler wrote the book for those two outings). However, as good as the score and book are, the musical doesn't offer a completely fresh spin on the famous fairy tale (especially when some of those modern updates have already appeared in Rodgers and Hammerstein's Cinderella) and the plot is fairly basic, as there really aren't many obstacles that get in the way of our main couple being together. Fortunately, while I haven't seen either of the previous versions of the show to compare this to, and even with those few shortcomings, the musical is in pretty good shape so it would appear that those additions and changes give hope that the creators have future plans for this musical. The cast is fantastic. Bailee Endebrock's Danielle is intelligent, compassionate, and fiercely independent. With a rich and warm singing voice and fierce determination, Endebrock delivers a believable take on the beloved Cinderella character who is driven as much by courage and empathy as by romance, making her both relatable and inspiring. Jason Gotay is equally strong as the charming yet conflicted Prince Henry. We understand from Gotay's nuanced portrayal that Henry struggles under the weight of royal expectations while yearning for freedom in his own life. Gotay's clear singing voice shines throughout and he and Endebrock create a believable couple you root to see succeed. As the wise and somewhat eccentric Leonardo da Vinci, David Garrison delivers a warmhearted performance that serves as both a comic presence as well as a mentor to the lead characters who helps guide the musical's themes of imagination and possibility. Garrison oozes warmth in the role. Lisa Howard is a comic gem as the main antagonist in the plot, Danielle's stepmother Rodmilla. Howard's solid stage presence, sharp comic timing, and brassy voice give many layers to this proud, bitter, calculating, and status-conscious woman who is determined to secure wealth and influence for her daughters at any cost. Garrison portrayed Da Vinci in both the Atlanta production and the 2025 workshop and Howard played Rodmilla in the recent workshop production. In supporting roles, Grace Rogers and Andrea Macasaet add moments of humor as Danielle's stepsisters Marguerite and Jacqueline. Rogers is appropriately vain, spoiled, and delightfully overdramatic as Marguerite, while Macasaet is the softer and more thoughtful sister. D. Scott Withers and Kate Cook have a few fun moments as Henry's parents, the King and Queen, while Teddy Ladley and Luke Kolbe Mannikus add charm as the royal Laurent and Danielle's friend, Gustave. The large ensemble play a range of characters with ease. Marlo Hunter's direction ensures the cast deliver layered portrayals and that the humor is sharp and the emotional moments resonate. The choreography by Billy Griffin is bright, fun, and well danced by the large cast. The creative elements are rich and lovely with the combination of Reid Thompson's fairly expansive set, Jeff Croiter's gorgeous lighting, and Alanna Maniscalco's imaginative prop designs creating many lovely stage images. Kish Finnegan's detailed costumes and the hair and makeup designs by Avant Johnston are colorful and fun. Kevin Robert White's music direction delivers warm notes and rich tones from the large cast and 14-piece orchestra that sound fantastic from Dave Temby's crisp and clear sound design. The stage adaptation of the film comedy Ever After may not completely reinvent the familiar "Cinderella" story but it does offer enough fresh touches to its well-known characters and relationships to make the journey feel engaging and enjoyable. The gifted cast, richly realized creative elements, and confident direction in The Phoenix Theatre Company's production all work together to create a theatrical experience that feels both lively and insightful. While the shortcomings in the story may mean this show may not have what it takes for a lengthy Broadway run, I have to imagine it will see a long life with regional theatre productions, because, even though it's a fairly simple, romantic comedy, it's also one elevated by wit, charm, and emotional sincerity. Ever After runs through June 14, 2026, at The Phoenix Theatre Company, 1825 N Central Avenue, Phoenix AZ. For tickets and information, please visit phoenixtheatre.com or call 602)-254-2151. Book by Kate Wetherhead Cast: *Members of Actors' Equity Association, the union of professional actors and stage managers in the U.S. |
