Charming re-imagined CINDERELLA with a social
message
Richard Rogers and Oscar
Hammerstein II, the fathers of the modern American musical, were advocates of
social responsibility. In
OKLAHOMA, they stressed the building of community, in SOUTH PACIFIC they pegged
prejudice, and in THE KING AND I, the duo examined intercultural
understandings.
They would be pleased to
know that Douglas Carter Beane, who wrote the new book for their 1957 for-television
musical, CINDERELLA, has picked up their social cause theme and added the need
for civility, and that there can be democracy within a monarch, and a plea for forgiveness,
to their fairy tale story.
Fairy tales have been the
subject of many Broadway musicals, including BEAUTY AND THE BEAST, INTO THE
WOODS, and THE LITTLE MERMAID. As
evidenced by the many little girls adorned with tiaras and chiffon gowns at CINDERELLA,
Broadway’s newest tale of happily-ever-after, it may be one of the most beloved
fantasy stories. Interestingly,
more than a few adult females stopped at the merchandise sales booth to buy
their own rhinestone headgear.
The legendary Cinderella
story centers on the put-upon Ella, an orphaned girl, being brought up by her
mean stepmother and harassing sisters, who is forced to do manual labor and sit
by the fireplace, thus being tagged “Cinder-Ella.” The handsome prince of the kingdom is looking for a
bride. A ball is held to showcase
the country’s female candidates.
Of course, while her sisters are invited, Ella is not. Her fairy godmother (a forest bag lady)
arranges for a pumpkin to be transformed into a golden coach, mice into horses,
forest creatures into footmen, and dresses the young lady in princess garb. And, of course, there are the glass
slippers, her appearance at the ball, the prince falling in love, the search
for his ladylove, and the happily ever-after ending.
But this script doesn’t
exactly totally follow the tale’s traditional story line.
Beane’s version cuts out
the king and queen, and adds new characters, such as Jean-Michel, a peasant political
do-gooder, who lusts after Cinderella’s nice sister, Gabriella, and Sebastian,
the prince’s mean-spirited advisor.
He has made the prince, Topher (short for Christopher and about middle six
names), into a naïve youth who transforms before our eyes into a benevolent
leader and all-around nice guy.
The changes work well, adding some mild intrigue.
The score includes such
favorites as “In My Own Little Corner of the World,” “Impossible,” “It’s
Possible,” “A Lovely Night,” “Do I Love You Because You’re Beautiful,” and
“There’s Music In You.”
There has also been some
adding of Rogers and Hammerstein songs that never made it into any of the duo’s
original script, but remained for future use. The future has arrived and the score has been enhanced with
“Me, Who Am I,” “Loneliest of Evening,” The Pursuit,” and “Now Is the Time.”
The production, under the
creative direction of Mark Brokaw, with choreography by Josh Rhodes, is full of
visual enjoyment. Images transform
the stage into a forest, complete with puppet animals, the prince riding on a
great steed, and a golden coach with prancing horses. There’s Cinderella’s house and the palace with the stairs on which
the glass slipper is lost.
Costume illusions dazzle
the imagination. (One little girl,
after Cinderella’s simple frock transformed into a beautiful ball gown,
squealed, “How did that happen?
It’s magic!” It was a
question and answer that many adults probably thought but were too inhibited to
voice their wonderment.
The cast is universally
appealing. Laura Osnes (Cinderella)
was seen on Broadway as the female lead in BONNIE AND CLYDE and ANYTHING
GOES. She looks like a princess,
sings like a Broadway star, and has all the qualities to not only entrance a
prince, but an audience.
Santino Fontana as Toper
(the prince) isn’t the typical tall, dark and handsome Broadway star. What he is, is a charmer with a great
singing voice, and the acting skills to make for a believable naïve spoiled
young man, thrust into the role of being a king to be, who transforms into a
benevolent monarch, with the aid of a wise woman and a rabble-rousing
do-gooder. His duets with Osnes
are show highlights.
Ann Harada, known to TV
audiences for her continuing role in SMASH, adds laugh-delight as Charlotte,
the prince-lusting evil step sister.
Both Greg Hildreth, as
Jean-Michel, the do-good campaigner, and Marla Mindelle (Gabrielle) his lady
love and nice step-sister, well develop their roles. Hildreth’s “Now Is the
Time,” adds the show’s political heart.
Peter Bartlett, makes for
a gentle evil-guy as Sebastian. He’s nasty, but not enough to scare the
kiddies.
Victoria Clark creates
Marie, the itinerant woodland wanderer turned fairy godmother, into a charming
character. She has a lovely
singing voice and strong stage presence.
Harriet Harris uses farcical humor to create Madam as a less than
fearsome wicked step-mother.
The beautiful and very
hummable score is well played by the large pit orchestra.
Clevelanders will be
pleased to see that The Araca Group, composed of hometown boys Matthew Rego,
Michael Rego and Hank Unger are among the producers of CINDERELLA, adding to
their other hits which include WICKED, ROCK OF AGES, and URINETOWN.
Capsule judgement: The first-ever Broadway staging of Rogers and Hammerstein’s
CINDERELLA is delightful. No, this
isn’t a great musical, but it will offend no one, delight many, and just the
names Roger and Hammerstein and CINDERELLA will insure a long run, road shows,
and lots of tiara sales.
ROGERS AND HAMMERSTEIN’S
CINDERELLA is in an open-ended run at The Broadway Theatre, 1681 Broadway at
53rd Street.
