REVIEW: ‘Cinderella: The Tale of the Glass Slipper’ treads a well-worn path
Repertory Philippines’ latest foray into fairy tales is far from its best foot forward.
The tale of Cinderella has been around for centuries and has been adapted for the stage and screen countless times. The earliest versions of the story have roots as far as ancient China and ancient Greece, but the most widely known incarnation is the French Cendrillon, published by Charles Perrault in 1697. Cinderella’s most notable musical theater incarnations were in Rodgers and Hammerstein’s 1957 musical, Stephen Sondheim’s 1986 Into the Woods, and the short-lived Andrew Lloyd Webber 2021 West End musical (re-titled Bad Cinderella when it opened on Broadway in 2023.)
Clearly, audiences have never tired of watching some version of this story on the stage because Cinderella is essentially the story of someone triumphing over adversity and fulfilling her dreams against all odds. It’s a very hopeful, human tale but with a dash of romance and magic. What’s not to love?
Cinderella: The Tale of the Glass Slipper (directed by Joy Virata and Cara Barredo, with book, music and lyrics by Janet Yates Vogt and Mark Friedman) is Repertory Philippines’ Theater for Young Audiences (RTYA) adding to the long list of Cinderella stage adaptations. This is the fourth production in RTYA’s Vogt/Friedman “theatrical universe” which began with Rapunzel! Rapunzel! in 2018, followed by Snow White and the Prince in 2023 and Alice in Wonderland in 2025. As with these previous productions, Cinderella attempts to reimagine familiar material by adding some elements that may appeal to children and adults alike.
“Attempt” is the operative word, in this case, as this production does not quite succeed in this task. The ingredients are there: fantastical musical numbers, colorful costumes, larger-than-life characters, and the occasional breaking of the fourth wall to keep the younger audience members engaged.
But this particular Vogt/Friedman script mostly follows the fairy tale’s oft-adapted story beats, without introducing anything particularly innovative or insightful. The songs are likewise not as memorable as other Vogt/Friedman outings, and because Cinderella has been so popularly adapted in musical theater (as opposed to Snow White or Alice in Wonderland, for instance), unfavorable comparisons to better music are inevitable.
Lackluster leads
It also does not help that the leads cast for this production are poorly equipped to elevate the material they have been given. Katie Bradshaw as Cinderella is wide-eyed and hopeful but spends much of her time as a spectator in her own story. While she sings her songs well enough, the notes never really soar.
This version of the show takes pains to give Cinderella more agency in pursuing her dreams, prioritizing her own compassion and courage over magical interventions. Unfortunately, Bradshaw is not quite up to the task of portraying such an empowered character as she sometimes fades into the background in scenes where she is meant to be in the spotlight, overshadowed by her more engaging supporting cast mates.
Radson Flores certainly looks the part of the Prince but does little else. His line delivery and singing fall short of a character of such regal bearing and, like Bradshaw, he is often overshadowed by his capable scene partner, Frederick (Hans Eckstein), who seems to have a firmer grasp of the prince’s destiny than the prince himself. His interactions with Cinderella are more perfunctory than romantic, and the pair, while lovely to look at, lack the chemistry that can truly sell the love story that has been part of this fairy tale’s enduring appeal.
Shining support
Where the leads falter, the supporting cast steps up, effortlessly commanding the stage for most of the show. As Putterman the rat, Stephen Viñas is charming and endearing, and his friendship with Cinderella forms the heart of the piece.
Cinderella’s stepmother (Pinky Marquez) and stepsisters are likewise delightfully despicable. Marquez is as tyrannical as one expects, although given the rodent-infested state of the house, one does question Cinderella’s own ability at keeping it clean. Stepsister 1 (Arielle Magno) is perpetually hungry and Stepsister 2 (Paul Atienza) is allergic to everything. As thinly drawn as these characters are, the charismatic performances add some meat to their bones, making them effective as villains and comic relief.
The enchanting Barredo is a welcome addition as she brings much-needed magic to the proceedings along with a distinctive Southern drawl. She truly puts the “godmother” in fairy godmother as she fusses over Cinderella in a very human way despite her supernatural origins, pulling out gloves and glass slippers from a tote bag and chatting about buying items at a thrift shop.
Magical but also mystifying
No RTYA production can be complete without immersing its audience into its fantastical worlds and Cinderella does deliver on this front. The grandeur of the palace during the pivotal ball scene and the ornately decorated carriage (set design by Lawyn Cruz) are among the most memorable set pieces. Dance numbers (choreography by Viñas) vary from the elegant waltzes of the ball to the fun frolicking of Cinderella’s mice-friends.
Some of the costume choices (costume design by Raven Ong) are curious. While Cinderella, the Prince, and the members of his court all seem to be dressed in beautiful fairy tale/period drama appropriate garb, reminiscent of European fashions, Cinderella’s stepmother and stepsisters seem to be in a completely different realm.
At the ball, the three ladies stand out awkwardly, sporting garish colors and animal prints when everyone else is in white. At home, the two sisters are dressed up like fluffy onions or flowers, with their mother like a kind of colorful, insect queen, when Cinderella is in regular human peasant garb. This choice may be meant to highlight their boorish behavior against the civilized manners of the other characters, but it actually distracts and somewhat destroys the otherwise effective immersion in the world when three characters look like they have been plucked out of Wonderland.
Even a story set in a fairy tale realm needs to follow some internal consistency or else it risks falling apart under its own logic. Material meant for a younger audience still has to make sense and should trust its audience to recognize when certain elements are out of place.
If the shoe fits…
Despite the valiant efforts of the impressive supporting cast, some energetic production numbers and beautiful set pieces, this particular production has not quite delivered the magic that has made Cinderella adaptations before it so captivating. It has certainly not reached the same height as previous RTYA Vogt/Friedman productions, which benefited from stronger material and even stronger leads.
Overall, this version of Cinderella is serviceable at best, but sadly one of the more forgettable entries in RTYA’s repertoire of magical fairy tales.
For a show about putting one’s best foot forward, this was a bit of a misstep.
This reviewer watched the 1:30 PM, August 22 show.
Tickets: PHP 1,500 (Orch Center), PHP 1000 (Orch Side)
Show Dates: August 22 to December 13 2026
Venue: REP Eastwood Theater
Running Time: approx. 2 hours (with a 15-minute intermission)
Producer: Repertory Philippines
Creatives: Janet Yates Vogt and Mark Friedman (playwrights, composers, lyricists) ,Joy Virata and Cara Barredo (co-directors), Stephen Viñas (choreographer), Phoebe Bitoon (musical director), Raven Ong (costume designer), Dreu Fernandez (associate costume designer), Kayla Teodoro (puppet design), Lawyn Cruz (set designer), John Batalla (technical director and lighting designer), Johann Dela Fuente (hair and make up designer), JM Jimenez (projections designer), Gab Carmelo (associate projections designer), Deo Dela Cruz and Francis Gatmaytan (dance captains/assistant choreographer), Ayam Eckstein (production and company manager), Aldous Mercado (assistant production manager), Jojo Amboy (stage manager), Ronnie Cruz (assistant stage manager)
Cast: Katie Bradshaw, Ornella Brianna, and Julia Santiago (Cinderella); Stephen Viñas and Jay Pangilinan (Putterman); Khalil Tambio and Radson Flores (Prince); Hans Eckstein, Steven Hotchkiss, and Hades Kitane (Frederick); Cara Barredo and Mayen Cadd (Fairy God Mother); Sebastian Katigbak and Paul Atienza (Step Sister 2); Pinky Marquez and Ring Antonio (Step Mother); Arielle Magno and Barbara Jance (Step Sister 1); Jiliana Tavares, Lani Grace Pelovello, Monica Tulio, Cydel Gabutero, Cheska Quimno, Bernice Ignacio, Jay Barrameda, Paula Paguio, Lucylle Tan, Julia Panlilio, (Female Ensemble); Astro, Francis Gatmaytan, Deo Dela Cruz, Leanard A. Dela Victoria, Kenny Isidoro, Sean Nolasco, Vinz Cantillo, Jovi Bonita, Jae Valencia, VJ Cortel, DJ Buban, Chesko Rodriguez (Male Ensemble).
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