Up until that priceless episode on “Sex and the City” when someone absconded with a pair of very pricey Jimmy Choo shoes left by Sarah Jessica Parker, “Cinderella” held claim for a few hundred years to the most famous fairy tale. Don't recall if Ms Parker's shoes were ever recovered, but Cinderella and her glass slipper have returned in innumerable versions and variations.
Given the success of the recent witty Broadway reboot of the original 1957 TV musical (by Rodgers and Hammerstein), it is a bit disappointing to see that Marcy Heisler (book and lyrics) and Zina Goldrich (music) have come up with a palatable but unexciting score for Ever After. Although Heisler based her book on the screenplay of the moderately successful 1998 film, it is seriously deficient in wit, humor, and most of all, a really dynamic leading character.
The film's idea to give the heroine a brain and a knowledge of the great books, including Thomas More's “Utopia,” is a sound basis for her attempt to make the Prince respect her intelligence and as a way to see his role as a leader instead of as a despot. It makes sense to set the story in the Renaissance, an era recognized for its resurrection of classical antiquities. But the Ever After libretto unfortunately lacks muscle and drive, and the direction by the usually inventive Kathleen Marshall seems to be an assignment still in progress.
Marshall does liven things up a bit when a lusty troupe of gypsies invade the monastery where Danielle and Henry are trysting or something. Plot progression be damned as we make time for some fiercely frenetic dancing. . .where is Countess Maritza when we need her?
An impressive supporting cast has been assigned to presumably punch up the sweet romancing of the attractive and talented leads —Margo Seibert and James Snyder. A kite-flying Leonardo da Vinci is genially played without pretense by Tony Sheldon, giving the story historical perspective. For the impressive visual historical perspective we can feast our eyes on the gorgeous cleavage-empowered 16th century costumes designed by Jess Goldstein.
Christine Ebersole as Danielle's heartless step-mother Baroness Rodmilla de Ghent and Julie Halston as Queen Marie of France try to pry a zinger now and then from the lame dialogue they have been given . . . to little avail. In spite of this, Ebersole invests as much subtext as she can into her portrayal of the jealous and selfish widow. Her beautiful voice is allowed to soar in a lengthy solo of a mother's sacrifice, “After All.” Halston, who can make us laugh reading the phone book, has little to say, and what she does registers as flat as the otherwise-very-handsome scenic projections provided by designers Derek McLane and Olivia Sebesky.
This Cinderella edition currently in its world premiere hasn't forgotten to include the two obligatory step sisters who get their just desserts and are played with spunk by Mara Davi and Annie Funke.
