Opera Theater to perform 'Cinderella'-style opera

An illuminated fairy godmother, a wiggy wicked stepmother, sexy fairies and a female Prince Charming - this isn’t a typical Cinderella story.  

The IU Opera Theater will present Jules Massenet’s “Cendrillon,” which is based on the familiar fairy tale, Friday at the Musical Arts Center.

This particular version of the fairy tale is set in early 19th century Napoleonic France, and boasts tons of visual components designed to keep the audience engaged.

“I try to do scenery that is very stimulating, that moves and evolves and changes in front of the audience’s eyes,” said C. David Higgins, professor and set designer for the production. “The scenery is meant to be like an early 19th-century engraved watercolor toy theater.”

The scenery won’t be the only visual draw in “Cendrillon.” New York-based guest director Chuck Hudson plans to challenge the cast with his directing style.  

“I’m a really physically specific director, and this production embodies stylized movement. It’s even slightly acrobatic,” Hudson said. “I have a very particular approach when I’m working with young singers. It is physically engaging and emotionally demanding and involves a lot of musical preparation.”

Hudson said this production will be much more sparkly and magical than the “Cinderella” the audience is used to.

“We’re using fiber optics and bee lights, or Christmas tree lights, when the fairy godmother flies in,” Higgins said. “Her costume and wig are illuminated with LED lights. These things are all very modern but it’s done in a sort of early 19th- century style.”

The 19th-century Romantic period costumes are another highlight of the production.
“I love the wigs,” said Charis Peden, who plays Madame de la Haltiere, better known as the evil stepmother. “They’re amazing. Everything is much more pastel than the Disney version everyone has seen.”

Higgins said this particular version is probably the most accurate representation of Charles Perrault’s 1697 version.  

“This is the most French version of the story,” Higgins said. “Since Perrault was French, this opera is closest to the original.”

“Cendrillon” will be performed in French, with English subtitles displayed on a screen above the stage.

“Director Chuck Hudson is fluent in French, and he can interpret the texts from the original language, which brings a special sensitivity to the material that another director wouldn’t have brought,” Higgins said. “He’s also a movement specialist and brings that dancer sensibility.”

Hudson’s previous work with legendary mime artist Marcel Marceau might explain his physical and visual approach to directing.  

“I really focus on stylized period movement,” Hudson said. “For instance, all the performers have to learn how to bow correctly, sit correctly and move in accordance to the period. It’s all very precise and very comic.”

Peden thought of a background story to bring her character, the stepmother, to life.

“It’s very problematic to play an evil character,” she said. “I had to create a first marriage for her and other past experiences in order to build someone so excitable and self-obsessed.”

For those familiar with the Disney version, “Cendrillon” might have some surprises in store, including a mostly female cast. Two alternating female cast members, Laura Wilde and Heng Xia, play Prince Charming, a “pants” role, meaning a male character played by a woman.

“In this art form, it is really quite usual to cross-dress,” said Alain Barker, director of marketing and publicity for Jacobs School of Music. “It really depends on the quality of voice that the director is looking for. Since Prince Charming calls for a soprano, it makes sense that a female should fill the role.”

Massenet’s “Cendrillon” originally debuted in Paris in 1899, but fell out of popularity until recently.

“It was not one of Massenet’s most popular operas,” Higgins said.  “It’s been rediscovered ... Operas come in and out of fashion, but this is the time for ‘Cendrillon.’”