Disney’s 1959 animated classic Sleeping Beauty is so much a part of the canon today that, when feckless King Lapis (Stephen Strafford) in the new musical version now playing at the Marriott Theatre asks for a suggestion for a name for his new daughter from his servant Topaz, one little girl in the front row called out, “Aurora.” Ah, but this is not that version of Sleeping Beauty. Marc Robins’ adaptation is a clever and joyful romp from start to finish, clearly built with the Disney film in mind but veering far from its source material. Here we have something more akin, at least thematically, to Sondheim’s Into the Woods: witches can be good, princes may not be all that and a bag of chips, etc. And if its twisting take on the original is not enough by itself to keep parents interested while their children enjoy the show, the jubilant performances certainly will be.
The basic story is the same: Princess Amber (because this is Colorland, and everyone is named after a color—which apparently determines their clothing choices for the rest of their lives, so choose carefully, parents) has already received magical blessings from two of three fairies when she is cursed by a malevolent witch at birth to prick her finger on the needle of a spinning wheel on her sixteenth birthday, fall into a deep sleep, then die at sunrise. The third fairy can’t undo the curse, but she modifies it so it has a cure: if a True Lover, who has conquered mountains, oceans and fire for her, kisses her before sunrise, she will be saved. (Yes, I know: those stipulations just make it less likely that she will be saved. You’re asking for logic in a children’s show?)
Enter Amber (Elizabeth Telford), one day shy of her sixteenth birthday. She is fearless and curious and full of life, and not at all a stereotypical princess. (There were enough of those in the audience in pink dresses and tiaras.) Telford carefully plays her as someone who wants to be a “normal” person, outside of the pomp and circumstance. She is far more the modern Disney princess than the classical one: her own person going her own way, enlisting the help of Topaz (a pointy-eared William Angulo) to hide from the fairies who wish to teach her etiquette and comportment. The fairies, Ruby (Danni Smith), Marigold (Sharissee Hamilton), and the ever-fainting Periwinkle (Cassie Slater), are the glue that holds the show together, appearing in most scenes and singing a large percentage of the songs. They are also responsible for “magically” including the audience of children in the action, an always crowd-pleasing moment. Smith, Hamilton and Slater have a great time with these roles, especially Slater, as Periwinkle is a bit of a show-off.
Of course, there is a love interest, but he certainly doesn’t seem a likely one. Prince Hunter (as in green, played by Garrett Lutz) is deeply “allergic” to anything that frightens him, and that includes heights and love. It takes the forceful nature of Amber herself to get him to begin to overcome and face his fears and when he does, he realizes that the “evil” witch Magenta (Meghan Murphy, having a grand time) isn’t all that evil after all. It’s that kind of show: perfect for kids. Even the (genuinely) scary dragon proves to be reasonable rather than terrible. A wonderful effect, the dragon manages to prove the strength of both Amber and Hunter before it is through breathing smoke for the day.
Director/choreographer Scott Weinstein has put together a child-pleasing show that has enough fun to also appeal to their nostalgic parents, who will remember the original’s darker elements that the kids block out and appreciate the way that they are turned on end here. It’s a nice way to spend a morning with your family.
Sleeping Beauty is now playing at The Marriott Theatre, 1333 N. Milwaukee, until December 17. Performances are most mornings in Nov and Dec. Tickets are $55 and are available from. The Marriott Theatre. Find more information about current plays on our Current Shows page and at theatreinchicago.com.
(karen topham)