Cinderella on Broadway: Tickets, reviews and video
Rodgers and Hammerstein's fairy-tale musical brings its magic and romance to the New York theater.
Photograph: Carol Rosegg
Cinderella on Broadway tickets
Though it seems like a revival, Cinderella has never actually played on Broadway before; Richard Rodgers and Oscar Hammerstein II wrote it for TV in 1957, as a fancy vehicle—fit for a ball!—for emerging star Julie Andrews. (It has been remade for TV twice since then.) To make the show sing for modern audiences, Cinderella’s producers hired playwright Douglas Carter Beane (Xanadu) to develop a new book around the lovely existing songs, which include the romantic ballads “Ten Minutes Ago I Saw You” and “Do I Love You Because You’re Beautiful?” The basics of the story are still in place, but modified with a nod toward sassy empowerment: Cinderella is more of a take-charge girl, her stepsisters are no longer mean, and a democratic movement is starting to take root in the Prince’s realm. If some of Cinderella’s fairy-tale essence gets lost among all these new trappings, the score is a minor gem, and Mark Brokaw’s staging offers an eye-pleasing pageant of lavish costumes and sets (as well as vivid choreography by Josh Rhodes). And the poised and charming Laura Osnes and Santino Fontana, as our heroine and her royal swain, slip with ease into their glass-slipper roles.—Adam Feldman
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at 53rd St
Subway: C, E to 50th St; N, Q, R to 49th St; 1 to 50th St
Cinderella on Broadway review
Those who attend Broadway’s Cinderella expecting a retread of the Disney movie, or the 1957 Rodgers and Hammerstein TV movie (on which the show is actually based), are in for a few big surprises. This new Cinderella is still built around the lush score for which the R&H version is fondly remembered, including the swoony waltz “Ten Minutes Ago” and the plaintive ballad “In My Own Little Corner.” But Hammerstein’s original book—which seemed as creaky as an old rocking chair in New York City Opera’s 2005 attempt to stage it—has been replaced with a cheeky new script by wit-for-hire Douglas Carter Beane. This is not a matter of tweaks; Beane has rewritten the whole yarn of ball, with an ear toward modern attitudes and attitude. The resulting confection of class and sass suggests a red-velvet cake nested in cotton candy.
Cinderella has gained viability but lost much of its fairy-tale heart in the course of its extreme makeover; our heroine’s cheeks betray no hint of ash, her stepsisters are no longer wicked, and all is quickly forgiven and forgotten. (A subplot about democracy raises social questions and lowers emotional stakes.) But the show’s young stars are hugely appealing: Laura Osnes beams with spunky virtue as Cinderella, and Santino Fontana, with his slightly skewed smile, is the rare Prince Charming with genuine charm. Mark Brokaw’s deluxe supporting cast includes Victoria Clark, Ann Harada, Marla Mindelle, and matching villains Harriet Harris and Peter Bartlett; among Cinderella’s other assets are a generous orchestra, vigorous choreography (by Josh Rhodes) and a gorgeous parade of costumes (by William Ivey Long). If this production is no more than a lavish escapist family entertainment, it’s no less than that either. Hop the pumpkin carriage, enjoy the ride, and don’t expect the magic to linger.—Adam Feldman
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