While parents may have a problem finding magic in this hybrid Cinderella, which tries to blend classic and contemporary elements, today's kids will probably love it. At least mine did. Although the rags-to-riches story is firmly entrenched in the current production, the show bears little resemblance to what audiences probably remember best: the 1965 TV version starring Lesley Ann Warren, or the most recent TV remake in 1997 featuring an African-American cast, including Brandy and Whitney Houston. Not that the story mattered one whit to the kids. They oohed and ahhed over the the pumpkin-turned-golden coach and were transfixed by Cinderella's sparkly party dress and, later, her demure wedding dress. They adored Cinderella's pals, consisting of a house cat and several mice, which were operated by puppeteers using long rods a la The Lion King They especially liked the hip, jive-talking dialogue, usually voiced by the younger cast members as a way of dissing their superiors.
Although this was an obvious ploy to make Cinderella relevant to today's audiences, I'm not convinced it works. It creates a sort of dissonance that is at odds with the epic nature of the classic story. It seems as if the show's creators didn't trust the show's universal themes, and the show is diminished as a result. The set design certainly reinforces this feeling. It ranges from cartoonish backdrops to superbly-realized set pieces, such as the golden coach and, in another scene, a stone statue and bench combination that could have been lifted from the Van Trapp's lawn in The Sound of Music. The result is a colorful hodgepodge that doesn't add up to much.
Aside from these limitations, the cast holds up exceptionally well. Both Jamie Lynn Sigler as Cinderella and Paolo Montalban (no relation to Ricardo) look adorable and sing very well. Sigler is best known as the character Meadow in TV's "The Sopranos." The couple moves less well, which is unfortunate in the ballroom scene, where the Prince is supposed to literally sweep Cinderella off her feet. They are supported by Leslie Becker as the Queen, and the venerable Ken Prymus as the King. Everett Quinton, known to New York audiences for his superb work at the Ridiculous Theatrical Company, is a standout as the Stepmother. He is deliciously audacious, whether vamping the Prince's valet or screaming for decorum among her daughters.
Although the daughters are named Grace (NaTasha Yvette Williams) and Joy (Alexandra Kolb), they evoke neither of these qualities, preferring to spend their time squabbling among themselves. It's clear the actors relish making these characters more comic than despicable. Their evil Act II duet, "Stepsisters' Lament," seem more about desperation than true revenge. The number is beautifully realized, and it brings down the house. The fairy godmother is none other than Eartha Kitt, who moves and sings remarkably well for 74. However, a hip, sexy grandmother/godmother is more than shy Cinderella can handle, and there is no chemistry in the scenes between these two key characters.
Rodgers and Hammerstein's score is among their best, and it shines in numbers such as "Do I Love You Because You're Beautiful?," "Ten Minutes Ago" and "A Lovely Night." This last song, which brings Cinderella in harmony with her stepsisters and stepmother as they recall their evening at the glittery ball, is so creatively staged, one wishes other numbers had received similar treatment. "The Sweetest Sounds," a hit from yesteryear (No Strings), has been effectively inserted as the show's opening ballad. This Cinderella is very modern and uptempo. It has some fine actors in the cast, and the producers obviously have spent quite a bit of money to create a visually lush production. Perhaps they just needed a sprinkling of godmother's pixie dust to convince them that the ageless story would hold up on its own, without contemporizing it.
