Bad Cinderella

 Bad Cinderella
Imperial Theatre
March 9, 2023 

Photo courtesy of Bad Cinderella

Bad Cinderella, Andrew Lloyd Webber’s latest musical to come to Broadway from the West End, boldly transforms the Cinderella story.  The book, by Emerald Fennel, is sharp and daring.  The characters are inventive and uniquely funny.  The plot is packed with unexpected twists and turns.  David Zippel’s lyrics set up the main conflict and propel the action by making the character’s objectives clear and full of passion.  Mr. Webber pays homage to Richard Rogers melodies from the score of his well-known version of Cinderella, then transforms them to a deeper and darker mood.  

A full year has gone by since Prince Charming left Bellville to fight a dragon.  He is presumed dead.  On the day the Queen (played by Grace McLean) declares her second, timid, and homely son, Sebastian (played by Jordan Dobson) as the new heir to the throne, she unveils a monument to honor Charming in the town square.  Unfortunately, the statue has been vandalized.  The townspeople, who believe outer beauty is of utmost importance, all know the culprit is Bad Cinderella (played by Linedy Genao).  In order to distract the kingdom from panicking about an impending rebellion due to the defaced statue, the Queen decides to throw a Ball on Saturday night.  She demands that Prince Sebastian chose a bride at the Ball and marry her on Sunday.   

Linedy Genao as Cinderella
Photo courtesy of Bad Cinderella

Sebastian seeks out Cinderella, who is a childhood friend of his, and blames her for his situation.    He
invites Cinderella to the Ball so he won’t feel alone.  He is secretly in love with Cinderella, but is afraid to tell her.  Cinderella’s Stepmother (played by Carolee Carmello) overhears Sebastian inviting Cinderella to the Ball, and comes up with a plan to get her two daughters, Adelle (played by Sammi Gayle) and Marie (played by Morgan Higgins), in the Prince’s favor. 

Cinderella visits Godmother (played by understudy Paige Smallwood) for a makeover before the Ball.  Godmother warns her of the price of beauty, yet Cinderella accepts the consequences.  When she shows up at the Ball, Sebastian does not recognize her because of the makeover.  At midnight, he is tricked into an engagement with Adelle.  Out of jealousy, Marie decides to help Cinderella stop the wedding, but an unexpected arrival gets there before her. 

Jordan Dobson & Carolee Carmello
Photo courtesy of Bad Cinderella

Linedy Genao and Jordan Dobson are wonderful together as Cinderella and Sebastian.  They have a strong, sincere bond.  Their characters grow throughout the story.  Their relationship deepens with genuine emotion.  Mr. Dobson’s character opens up during his song “Only You, Lonely You” in Act I.  Ms. Genao soars while singing “Easy to Be Me” in Act I and “Cinderella’s Soliloquy” in Act II.  

Carolee Carmello is outstanding as Stepmother.  She and Grace McLean have great comic timing.  Their duet, “I Know You,” is brash and witty.  Understudy Paige Smallwood delivers a mysterious performance as Godmother.

The choreography by JoAnn M. Hunter is crisp and energetic.  The sets and costumes by Gabriella Tylesova are bright and imaginative.  The entire cast is amazing.  Bad Cinderella is a lot of fun and sure to be a hit. 

Domenick Danza

In the Green

In the Green

Lincoln Center Theater

at the Claire Tow

July 27, 2019

Photo courtesy of Lincoln Center Theater

In the Green, a new musical by Grace McLean, is now playing at Lincoln Center.  It has a unique score that reflects the style and mood of its medieval setting.  It is based on historic characters and tells the story of their spiritual catharsis.  The cast of five women play various roles and sing for a full ninety-minutes.  Their voices blend and separate as tensions in the action build to reveal the depth of the story.

The year is 1106.  Eight-year-old Hildegard von Bingen is tithed to the Catholic Church.  She is to be a handmaid to Jutta von Sponheim, who lives in complete seclusion.  She voluntarily locked herself in a cell connected to an abbey church.  During their time together the women share their stories.  They seek freedom from the outside world and journey toward wholeness.  After thirty years of solitude and Jutta’s death, Hildegard emerges from her cloistered cell to share her wisdom with the community.

Photo courtesy of Lincoln Center Theater

This is a very dark and obscure story, structured and told in a way that is befitting its topic and time period.  There are outstanding and moving performances by Rachael Duddy, Ashley Perez Flanagan, Grace McLean, Mia Pak, and Hannah Whitney.

In the Green is playing at Lincoln Center’s Claire Tow Theater through August 4.

Domenick Danza

Natasha, Pierre, & the Great Comet of 1812

Natasha, Pierre, & the Great Comet of 1812

Imperial Theatre

August 2, 2017

 

Photo courtesy of Natasha, Pierre, & the Great Comet of 1812

Natasha, Pierre & the Great Comet of 1812 is a Broadway show like no other!  The entire theatre is the set and the audience is totally submerged in the action of the play.  The orchestra is spilt into four different locations and musicians move throughout the theatre.  The concept and design are brilliantly conceived and superbly accomplished, giving every audience member, no matter where they sit, a visceral, engaging and memorable experience.

The story comes from a seventy page section of Leo Tolstoy’s War & Peace.  Natasha (played by Denee Benton) is betrothed to Andrey (played by Nicholas Belton).  When he goes off to war, she and her cousin, Sonya (played by Ingrid Michaelson), stay in Moscow with her Godmother, Marya (played by Grace McLean).  While at the opera, Natasha catches the eye of Anatole (played by Lucas Steele).  They fall in love, risking Natasha’s reputation.  It is after consolation with family friend Pierre (played by Okeiriete Onaodowan) that she regains her self-assurance. 

Denee Benton & Lucas Steele
Photo courtesy of Natasha, Pierre, & the Great Comet of 1812
 

The music, lyrics, book, and orchestrations are all by Dave Malloy, and are pure genius.  He tells this story with bold, fiery passion, developing strong and true characters who, since it is Russia in 1812, are highly dramatic.  At the end, he takes you to a quiet and touching meeting between Natasha and Pierre that leads to a deep emotional catharsis in the shadow of the great comet.  Denee Benton and Okeiriete Onaodowan deliver the honesty and tranquility needed in this final moment, after two and a half hours of heightened exuberance.

Ingrid Michaelson as Sonya
Photo courtesy of Natasha, Pierre, & the Great Comet of 1812

The show has no spoken lines and a number of arias that stand out.  Denee Benton’s rendition of “No One Else” sets up the inner life of her character.  Ingrid Michaelson’s solo in Act II, “Sonya Alone,” is flawlessly performed, filled with compassion and tenderness.  “Charming” sets up the character of Helen, Pierre’s wife, as cunning and untrustworthy.  Amber Grey stands out in her portrayal of this character playing every layer of subtext from subtle to palpable.  Okeiriete Onaodowan delivers “Dust and Ashes” with a keen insight into the yearning of Pierre’s soul that connects all the action to the final moment of the story.

Lukas Steele is fantastic as Anatole.  Every one of his entrances grabs attention.  He is charismatic and beguiling.  Another stand out performance is Grace McLean as Marya.  She is warm and welcoming in Act I, then explosive when she feels betrayed by Natasha in Act II.  These are two strong and absrobing performances.

Photo courtesy of
Natasha, Pierre, & the Great Comet of 1812

Mimi Lien and Bradley King well deserve the Tony Awards they received for set design and lighting design.  Together with sound design by Nicholas Pope, they transcend any pre-conceived notion of environmental theatre.  They transport the audience into a space filled with heightened emotion and vivid imagination.  Director Rachel Chavkin’s vision and collaborative mastery create an intimate experience for a very large Broadway audience.    

Natasha, Pierre & the Great Comet of 1812 is playing at the Imperial Theatre.  Be sure to see it!

Domenick Danza