By John Lyle Belden

Sometimes, when you need it most, a special person appears, a wise character who makes everything better with their magical touch.

A Fairy Godmother? Sure. But for now. I’m referring to Bob Harbin. Mr. “Bobdirex” has cast his spell on Footlite Musicals in his direction of Rodgers and Hammerstein’s “Cinderella.” While most often seen as a version of the 1957 television production, he has gone with the 2013 Broadway book of the musical by Douglas Carter Beane. Consider this a more postmodern and “woke” version — as one critic of the New York staging put it, influenced by “Les Mis” and “Spamalot” — while still retaining plenty of the fairy-tale charm and the wonderful R&H songs.

We check off the old story points: A girl is reduced to servitude by her cruel stepmother and spoiled stepsisters, but she keeps a positive attitude “in her own little corner” by the hearth. Meanwhile, the local Prince (who is quite Charming, but he’ll go by one of his several names) needs to find a bride so he holds a Royal Ball, which our evil Steps go to but leave Cinder-Ella behind, to be rescued by a Fairy Godmother, who provides the gown and glass slippers while charming a pumpkin into a carriage and handy animals into its horses, driver and footmen. Spell ends at midnight, so after Cindy and the Prince fall in love-at-first-sight, the clock chimes, and off she goes…

But, wait! Also: Prince ‘Topher (Jacob Hardin) is more than two-dimensional and has his own inner struggle; likewise, stepsisters Charlotte (Kristin Cutler) and especially Gabriella (Tara Cherry) have feelings other than snobby disdain, with the latter secretly in love with peasant rabble-rouser Jean-Michel (Dustin Branum) — oh, and there’s that young student revolutionary added to the cast. Madame Stepmother (Jill O’Malia) is still evil as heck, but we have another villain in minister Sebastian (Markell Pipkins), who maintains the kingdom until the Prince comes of age, enacting all sorts of oppressive measures. And to top it all off, when she runs from the ball, Cinderella (Lauren Russel) takes both shoes! What’s going on here?!

You have until Dec. 15 to see how this all works out to the expected happy ending. With the odd twists and its constant way of mining humor from them, this is an entertaining take on the whole Once-Upon-a-Time schtick, and with tunes like “The Prince is Giving a Ball,” Fol-De-Rol,” “Impossible is Possible,” and “Ten Minutes Ago,” sure to please any who love the original show.

Great performances by all I’ve listed so far — who knew we could find the Stepsisters so fun? — as well as Heather Catlow as Marie, the old woman with something shiny under that frumpy dress; and Chris Jones as Lord Pinkleton, servant to Topher and Sebastian, and master of the sarcastic eye-roll. 

Russel is appropriately beautiful in voice, movement and attitude. Cutler wields both ditsy-ness and sarcasm to hilarious effect. Cherry also plays not-too-bright but makes up for it with chutzpah and surprising depth. Branum plays a boy full of radical fire, but ironically low in confidence, and charming either way. Catlow is appropriately maternal with wry humor. Hardin makes the most of a story that usually just makes him the means to Cinderella’s end, showing some growth from spoiled boy to worthy of his eventual kingdom.

The show also looks great, with costumes by the team of Etta Biloon, Renee Stout, Vickie Tewes, and Darlene Uggen; and wigs by Tim Hunt and Jill Wooster (you’ll never forget Gabrielle’s hairpiece). Sets are by Stephen Matters; choreography is by Linda Rees; music director and orchestra conductor is Kayvon Emtiaz. Note the cast and crew are all volunteers, doing it for the love of the art.

Oh, and there are also puppets. Who doesn’t like puppets?

Thanks, Bob! For a fresh and fun diversion from all the holiday happenings, “Cinderella” graces the Footlite stage at 1847 N. Alabama St., near downtown Indianapolis. Call 317-926-6630 or visit www.footlite.org.