Review: Ravishing new ‘Cinderella’ takes her shoe, and her destiny, into her own hands

Well, if Cinderella is going to leave her telltale shoe behind, it will not be by accident.

Deliberately and conspicuously, she places her footsy calling card in front of the smitten Prince. Come find me, she intimates as she makes eye contact with him — it will be worth it.

Director Justin Lucero uses swords, cellphones and a twirling disco ball strategically in “Cinderella,” his debut production as artistic director of Theater Latté Da. With costumes that similarly pull from haute couture, protest movements and the abstracted Middle Ages, and with a puppet menagerie of animals, the show at Minneapolis’ Ritz Theater lacks a coherent period or setting.

Even so, Lucero’s operatically ambitious take on Rodgers and Hammerstein’s version of the fairy tale is resourceful and brilliant. It’s spare in places — more metaphoric gesture than fleshed out ideas — but that theatrical invention works to encourage our leaning in.

Lucero’s smart direction is complemented by Kyle Weiler’s jaunty choreography, a strong shoe game — sometimes the footwear is its own little show — and stellar performances.

This “Cinderella” is markedly different from the TV versions it nods to — the 1957 original and the 1997 Whitney Houston and Brandy film. Lucero uses Douglas Carter Beane’s 2013 Broadway update headlined by Burnsville-born and Eagan-raised Laura Osnes and University of Minnesota grad Santino Fontana and includes new-to-the-show songs culled from the Rodgers and Hammerstein catalog.

Beane brought in more nakedly social justice themes into the fairy tale kingdom where people are being dispossessed of property. Cinderella and an activist named Jean-Michel (Po Cushman) bring this injustice to the attention of Prince Topher (Theo Janke-Furman). But the regent (Tod Petersen in another standard-bearing turn) has other ideas and plans.

At Latté Da, scenic designer Eli Sherlock’s set is a series of minimalist structures. He has created symmetric risers for Wesley Frye’s six-piece orchestra that flanks the main playing space. A series of transformable half-circle contraptions — some suspended in the design, some on the floor — are used to suggest furniture, then horses or whatever. The half-circles nod to the moon, to ticking clocks and to the idea of completion, all of which work thematically with the directorial vision.

If “Cinderella” is an artistic statement, it is not just for Lucero. Young and green, title star Nambi Mwassa carries the show on her very capable shoulders. With gorgeous singing, effective acting and a deft balance between confidence and victimization, her Ella literally shines.

The fairy tale rags-to-princess character is not defined by what she wears, including a voguish outfit that ultimately showcases her contemporary regality. Instead, Cinderella has an innate goodness and virtue, and on songs such as “In My Own Little Corner” and the duet “Do I Love You Because You’re Beautiful?,” Mwassa imbues her with that deeply felt truth.

Janke-Furman similarly does a fine balancing as Topher, showing the prince’s maturation from indecisive, if effective, slayer of dragons to someone who knows, and follows, his own heart. And he’s well matched with Mwassa, with the two delivering a touching “Ten Minutes Ago.”

Sally Wingert is devilish in her Prada-like couture created by costume designer Mathew LeFebvre. Delivering with her usual excellence, she, similarly, is surrounded by commendable talent.

As mean, vacuous stepsister Charlotte, Hope Nordquist is flawless at the start of the second act, delivering a showstopping version of “Stepsister’s Lament.” Isa Condo-Olvera, as kind stepsister Gabrielle, also is effective, going from glam to drab.

Kudos to Carnetha Anthony, the understudy who went on in the role of Crazy Marie. She did not miss a noticeable beat on opening night, shining on “There’s Music in You.” Evan Tyler Wilson is fluidly funny as Lord Pinkleton, gliding in Heelys across the stage.

“Cinderella” would be a strong show because of its artful and clever stagecraft. But this holiday production succeeds because it ultimately evokes feeling, a tribute to Lucero, Mwassa and their fairy tale team for sweeping us along with their imaginative dreaming.

Where: Ritz Theater, 345 13th Av. NE., Mpls.

When: 7:30 p.m. Wed. & Fri., 2 p.m. & 7:30 p.m. Sat., 1 & 6:30 p.m. Sun. Ends Jan. 5.

Tickets: $35-$90. 612-339-3003 or latteda.org.