Here ye, my fellow readers and lend me your attention. Are you looking for fun? For romance? For stories about the rich and poor? For a family musical find? Than, look no further. Mark Brokaw's finely tuned and crafted production of Rodgers and Hammerstein's Cinderella at the Broadway Theatre is right up your alley.
Before taking the stage in this first Broadway production, R&H's Cinderella was a musical-made-for-television, with three interpretations in 1957 (with Julie Andrews), 1965 (with Lesley Ann Warren and the late Celeste Holm), and most recently in 1997 (with Brandy Norwood and the late Whitney Houston). Now, it finally reaches the Great White Way with a brand new book by Douglas Carter Beane and a new twist that makes this a Cinderella for a new generation.
The show now takes place in a society where the poor is treated poorly by the rich. The title character, now known as Ella (Laura Osnes) still lives with her stepmother Madame (Harriet Harris) and her stepsisters, the evil Charlotte (Ann Harada) and the kind Gabrielle (Marla Mindelle). The Prince, now known in this version as Topper (Santino Fontana), fight dragons and giants, but his guardian Lord Sebastian (Peter Bartlett) wants him to marry and become king (Both of the prince's parents have died.) To do that, he distracts the village's crowd from listening to Jean-Michel (a new character played by Greg Hildreth) and his ideas for a better government for the wealthy and poor, with an announcement of a royal ball to find the kingdom's new bride.
Ella gets her invitation, but Madame rips it up. But, a old woman from the village, Crazy Marie (Victoria Clark) give Ella her ripped invitation and reveals herself to be Ella's fairy godmother. Marie gives Ella her wish to go to the ball with the carriage, footman and a gown intact. Ella also goes there to try tell the Prince what's really happening in the kingdom. I can't reveal the rest of this plot, but you'll have to see it for what it turns out.
This is a splendid, jubilant entertainment with fun for all from the littlest to the oldest. Director Brokaw gives the show a retro touch with a feel and look that reminded me of those classic 40's and 50's M-G-M musicals that Hollywood don't use to make anymore. Josh Rhodes' choreography is enchanting, especially in the Royal Ball sequence.
Beane's book and a political subplot (which involves an election for Prime Minister) works well with a mix of The Cradle Will Rock, Once Upon a Mattress, and Jay Ward's Fractured Fairy Tales. Beane also stays faithful to the show's source material from which it came from, and in the transition from the screen to the stage, he doesn't turn the characters into caricatures. It delivers on the moral that you must put kindness and respect beyond the rich first.
Richard Rodgers and Oscar Hammerstein II's score is still a wonderous gem with songs from the previous TV versions ("Impossible/It's Possible", "Ten Minutes Ago", "In My Own Little Corner") and brand new songs added from the R&H library ("Me, Who Am I?", "This is The Time") that fits into the story quite fine. It's music that worth humming for weeks to come. A special thanks to Danny Troob whose orchestrations gives the score a triumphant zest to it.
Anna Louizos' storybook-like sets and Kenneth Posner's lighting give the show an intimate touch, similar to last month's Paper Mill Playhouse's production of Disney's The Little Mermaid. Also, the Tony-winning costumes by William Ivey Long are beautiful with a capital B. The gown changes for Ella made me think "how they do that?'
A winning cast help make the magic come together. Osnes (Bonnie and Clyde, Anything Goes) is a perfect charmer as Ella. She has a radiant voice and clear-eyed spunk to bring her character to life. She's one Broadway wonder. Fontana brings the right amount of shyness, humor and charm as Prince Topper. Together, Osnes and Fontana make one heavenly couple whenever they're both on stage.
A veteran of Avenue Q and the now long-gone underrated TV show, Smash, Harada's comic portrayal of Charlotte brings a sassy energy that recalls one of comedians Margaret Cho and Roseanne and greedy Angelica Pickles from the 90's classic Nickelodeon animated series, Rugrats. Mindelle (Broadway's Sister Act) is very funny as Gabrielle and Hildreth is very good as Jean-Michel. Harris (Thoroughly Modern Millie and TV's Fraiser) and Bartlett give wicked performances as Madame and Sebastian, respectively. Last, but not least, Clark (of Light in the Piazza fame) is sensational, doubling as a old crone and a godmother with magic and wings to spare.
Seeing Cinderella on stage, it made me a fellow admirer of the musical genre of fairy tales that work if it made very well. I was enchanted by it from start to finish. This is an pure example of what family entertainment should be: A well-though execution with a fine story and adorable characters, made with tender care for the perfect audience.
So, thou must rush off to ye old Broadway Theater, my fellow readers. To paraphrase one of the show's songs, a lovely grand time will be had by all.
Rating: ***1/2
Parent Advisory: Suitable for all ages.
Rodgers and Hammerstein's Cinderella is now playing at Broadway Theatre on 1681 Broadway (between West 52nd and 53rd Streets) for a open-ended run. For tickets, go to cinderellaonbroadway.com or call Tele-Charge at 212-239-6262.
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