Abstract: I attended a presentation of Rodgers and Hammerstein’s Cinderella in the city where I live. I took my two children with me, it was their introduction into theater, and it was a fabulous time had by all. Since it was student night, the actors stayed after the production and answered questions (although, they flat-out refused to answer the technical ones). Both my children asked questions (with no prompting from me at all!) This piece describes the use of music and costumes in this particular production (April, 2010) and how each are used to give not only indication of character (goodie or baddie) but also to link characters.
I would like to add that my eldest son, who is in 2nd grade, made the connection of the Prince and Cinderella based on the song/costume pairing. After the “The Sweetest Sounds” reprisal he asked me, “why do they keep pairing them together?” Even if he wasn’t sure exactly what the point was, he got that “they” were trying to make a point. YAY!!!
Costumes and Music in Cinderella
Costumes of characters more often than not give some indication of the inner character. In Rodgers and Hammerstein’s Cinderella, the costumes not only provide this insight, but also forms connections between characters. In a world of loud colors and loud characters, the Prince and Cinderella wear soft, matching colors, causing them to stand out instead of fading into the set. The step-family of Cinderella instead of standing out with their loud, vibrant, and ugly colors blends in with the other characters and scenery. The King and Queen also are subject to the intent of costume. While the characteristic insights are given with costumes, they are also given with the music.
As the play opens onto the market place, the audience is a washed in bright, gaudy colors for the costumes. The music is loud and happy and together with the costumes create a feeling of being overwhelmed. The step-family is the loudest and most vibrant – with bright reds, greens, pinks, yellows and greens in their costumes, makeup and hair. Enter Cinderella. She is walking slowly, in direct contrast to the busy atmosphere of the marketplace. She is wearing a simple dress in a muted blue and off-white combination. She is ridiculed and belittled by the step-sisters, and, because of the connection to the townsfolk, the rest of the world. As the step-family continues their loud shopping: enter the prince. The prince is also wearing the same muted blue and off-white combination. Before the prince has said two words, the audience is able to make a physical connection between the two characters that will lead to the happily ever after.
This clothing connection between fated lovers is also seen in the King and Queen’s costume. The royal costumes are also loud in color, but not the clashing vibrancy of the townsfolk. Both the King and Queen wear deep, royal purple and red, and as the King dons his robe and stands next to the Queen, the audience sees that their costumes form a mirroring image. As the scenes and costumes change, the King and Queen, as well as Cinderella and her prince are wearing coordinating outfits.
The coordinating outfits are not the only connection between the Prince and Cinderella. They both sing the same song, but do not sing it to one another. In the market place, the Prince and Cinderella sing “The Sweetest Sounds” as they walk “blindly” around one another. In the next scene, the setting has changed and the Prince is in the castle with the King and Queen. After a family dispute over the impending ball the Prince begins to sing the song once more. The director decided to leave the background of the castle up and slide on to stage the fireplace with which Cinderella is most associated. The stage is evenly divided between the two characters and they both reprise the song “The Sweetest Sounds.” The characters also have a spatially separated duet in “Do I Love You Because Your Beautiful?”
The choice of costume and songs can visually connect characters in such a way that is obvious even to younger audiences. While the pairings of costumes and music can be cliché, if done correctly, as in this play, they become elements of foreshadowing and support the already known plot.
