Madison Manning (Cinderella), right, and Trisha Jeffrey (Fairy Godmother) in “Rodgers & Hammerstein’s Cinderella” (Photos by Michael Davis)

Manning plays Cinderella in the production that runs through Jan. 5 in the Archbold Theatre at Syracuse Stage. All evening performances begin at 7:30 p.m. while all matinee performances begin at 2 p.m. Tickets may be , by phone at 315.443.3275 or in person at the Syracuse Stage Box Office.

Manning shares insights into the production and her role.

What can audience members expect from this production?

They can expect a modern twist to it, especially because this is “Rodgers & Hammerstein’s Cinderella.” It’s not something that’s very complex in language, and it’s more contemporary in its scene work, general dialogue, blocking techniques and the demeanor to which we perform the show.

Besides expecting a contemporary aspect, they can expect a lot of beauty in the staging, projections, lighting and costuming. Regardless of if they’re following the story or listening to the singing, people will come in and enjoy getting to see such beauty and attention to detail in the visual aspect of it. They can expect to see a heartwarming story that visually, emotionally and mindfully has a lot of love, care and warmth put into it.

Where do you draw inspiration from for your performance?

I’m big on finding inspiration in multiple mediums of art. Most of it comes from other theater, a lot of film and TV, and a few years ago I got into reading a lot of young adult fantasy novels. Even though those stories can be different from the ones told in theater, just tapping into different mediums of storytelling has been a big inspiration for how to tell a story to specific audiences with specific material or storylines.

If it had to be a person, I draw a lot of inspiration from Patina Miller and Cynthia Erivo—Black, female artists that are not only talented but driven and know how to collaborate with other artists. I also draw a lot of inspiration from the faculty at Syracuse and my peers. When you’re in class, watching other people perform, whether there’s solo performances, duets and trios, or scene work, you learn from your peers because you’re constantly watching them grow.

What do you want to convey in the character?

Cinderella speaks with animals.

In the original Disney movie, it literally says that Cinderella was abused, humiliated and forced to be a servant in her own home. Despite all of that, she woke up every single day with hope and optimism. She still showed the stepfamily gentleness and reverence in the face of their hatred and unjustified anger.

The biggest thing I want to convey about the character is that she’s not a damsel in distress and that her strength comes from her ability to choose kindness in the face of adversity. It’s much easier to be mean right back to somebody that’s being mean to you. It’s even harder to show them kindness, continuously show them love and make them a part of your life despite what they’ve done.

What’s the best part about becoming this classic character, Cinderella?

“Rodgers & Hammerstein’s Cinderella,” co-produced by Syracuse Stage and the Department of Drama in the College of Visual and Performing Arts, runs through Jan. 5.

The best part, besides wearing beautiful costumes and telling such a fun story, is getting to inspire little boys and girls throughout the Syracuse area. When I was a phantom in “A Christmas Carol” [the Syracuse Stage/Department of Drama co-production] last year, I got to crawl up and down the aisles and look into the faces of people. For children’s matinees, there were a lot of Black and brown children in the audience. The first thing I thought when I got cast was, “How great is it going to be for those boys and girls to see themselves represented on stage, not just as a side character or someone in the ensemble but someone who’s playing the main lead.”

Adeera Harris ’25, my cast member who plays Grace, also pointed out that it’s such a blessing to not see the pigeonholed stereotype of the Black girls, the sassy sidekick or the mean girls; rather, you get to see People of Color in our cast play the prince, the princess, one of the step-sisters, ensemble members and the fairy godmother. You get to see so much diversity that I think will impact a lot of children. My hope is that they take away that things are still possible, and it’s possible for them to be a source of inspiration and encouragement for others.

What’s the most challenging part of this role?

The most challenging part is definitely the singing. After doing three previews, I’m still nervous about getting through all 50-plus shows with this score. It’s a very demanding role vocally in a way that I’m not used to. I would consider myself a belter, but this role requires me to use my reinforced mix, which I’m just now developing as an artist.

I didn’t come into college with vocal training. I did choir in high school but never one-on-one training for my vocal instrument, so I always felt a little late to the game in terms of singing. I knew going into this I would need to really prepare and know these songs like the back of my hand, so that even if I was sick or lost my voice and got it back two minutes before curtain, I’d be able to do the show.

To read the full story, visit the .

The students, led by School of Design Associate Professor , participated in two teams. They completed the design proposals as part of their coursework in Spring 2024. The awards were announced in late September.

Surina Archey ’27, Milena Andrade ’26 and Haley Meyer ’26 took the silver award in product and structural design for  a prescription for eco-anxiety. Arriving in eco-friendly packaging, the prescription provides resources for climate action and education in four capsules.

Offering a calendar of local, environmentally focused events, the action pill encourages community involvement. The giving pill spotlights an eco-organization and contribution opportunities.

The prescription also introduces users to sustainable companies through product discounts and samples in the sustainability pill. It provides a booklet with anti-anxiety practices and a newsletter containing positive climate news through its wellness pill.

Receiving highly commended recognition in , Qizhi Fang ’26, Valeria Chavez ’27, Peter Zejmis ’26 and Jiamin Chen ’26 confronted water accessibility issues. The students designed a water bottle that alerts people experiencing homelessness to the proximity of drinkable water. In partnership with Hydro Flask, the water bottle measures the distance to accessible, clean water sources by color change. The farther from a water source, the redder the bottle turns.

Award winners have their work displayed online and are invited to be a part of the Creative Conscience Community.

Joseph Maxwell Ossei-Little (left) and Ryan McQuay Meredith

Meredith’s composition, “Polluted Skies,” consists of two movements, “Clouds” and “Stars.” The piece mimics a cloudy sky that eventually opens into a starry night.

A massive mechanical instrument, the organ always fascinated trombonist Meredith. Housed in Crouse College’s Rose and Jules R. Setnor Auditorium, a 3,823-pipe Holtkamp Organ is part of what attracted him to Syracuse University. “There’s a lot of magic tricks you can pull off on the organ,” says Meredith. “Specifically with our organ, there’s a lot of options where you can have one hand do an orchestra’s worth of what you want.”

The completed composition broadened organist Ossei-Little’s musicality, allowing him to play with unique rhythms and contribute his own voice to the growth of the organ community. “What really got me interested in the project is this whole idea that my professor has been championing about expanding the repertoire of the organ,” he says. A composer-organist pair themselves, Setnor Associate Professor Anne Laver and Assistant Professor Natalie Draper guided the students throughout the project.

The creation of new compositions can have a large impact on the evolution of the instrument, Ossei-Little notes. When large chords became commonplace in compositions, organ builders reacted, making it easier for players to meet the needs of the pieces.

Available on video via the AGO website this summer, “Polluted Skies” will highlight all the organ has to offer. Ossei-Little plans to premiere it at his scheduled for Saturday, April 13, at 5 p.m. in Setnor Auditorium. “It’s a very wonderful opportunity for us to showcase what the organ can do,” Ossei-Little says. “Not just what it used to do in the past but what it can do now.”