Cinderella on Broadway tickets
Cinderella on Broadway show information
Broadway Theatre. Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by Douglas Carter Beane. Dir. Mark Brokaw. With Laura Osnes, Santino Fontana. 2hrs 20mins. One intermission.
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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• Laura Osnes as Cinderella
• Santino Fontana as Topher
• Victoria Clark as Marie
• Harriet Harris as Madame
• Peter Bartlett as Sebastian
• Ann Harada as Charlotte
• Greg Hildreth as Jean-Michel
• Marla Mindelle as Gabrielle
• Mark Brokaw - Director
• Douglas Carter Beane - New Book
• Oscar Hammerstein II - Original Book
• Richard Rodgers - Music
• Oscar Hammerstein II - Lyrics
• Douglas Carter Beane - Additional Lyrics
• David Chase - Additional Lyrics
• Josh Rhodes - Choreography
• Anna Louizos - Scenic Design
• William Ivey Long - Costume Design
• Kenneth Posner - Lighting Design
• Nevin Steinberg - Sound Design
• Robyn Goodman, Aged in Wood, Jill Furman, Stephen Kocis, Edward Walson, Venetian Glass Productions, The Araca Group, Luigi and Rose Caiola, Roy Furman, Walter Grossman, Peter May, Sanford Robertson, Glass Slipper Productions LLC, Eric Schmidt, Ted Liebowitz, James Spry, Blanket Fort Productions, Center Theatre Group - Producers
Restaurants near Cinderella
While tourists bumble into Sbarro looking for a New York slice, pizza aficionados have been busy colonizing this pedigreed newcomer—a collaboration between Kesté’s talented Roberto Caporuscio and his decorated Naples mentor, Antonio Starita. Start with tasty bites like the frittatine (a deep-fried spaghetti cake oozing prosciutto cotto and béchamel sauce), before digging into the stellar wood-fired pies, which range from standards such as the Margherita to more creative constructions like the Rachetta, a racket-shaped pizza with a “handle” made of ricotta-stuffed dough. The main event, however, should be the habit-forming Montanara Starita, which gets a quick dip in the deep fryer before hitting the oven to develop its puffy, golden crust. Topped with tomato sauce, basil and intensely smoky buffalo mozzarella, it’s a worthy new addition to the pantheon of classic New York pies.
With butcher-block tables, inventive Korean-inspired small plates and a Michelin star to boot, this diminutive eatery is of the rare breed that would likely be just as packed downtown as it is on West 52nd Street. Chef Hooni Kim (Daniel, Masa) brings his haute French training to bear on the food of his homeland, splitting the menu between traditional dishes and modernist riffs. His flavors are bright and fresh, with a great balance of sweet, spicy and funky elements. The classics seem, for the most part, like upgrades on their source material—scallion pancakes are exceptionally fat and crispy, while chili-slicked buckwheat noodles are paired with a beer-friendly salad of spicy vegetables and chewy, briny whelks. The updated stuff is equally appealing. Sliders may be passé, but you won’t want to miss Kim’s addictive bulgogi beef variety, served on pillowy grilled buns with spicy pickles and scallion salsa.
Esca is the area’s slickest and most creative choice. Part of the Mario Batali–Joe Bastianich empire, the menu takes a whirl through Southern Italian seaside cooking (spaghetti with lobster). Start with the signature raw antipasti, called crudi, then move on to excellent, shareable pastas such as superfresh grilled fish, lavish Sicilian-style seafood stew, or succulent square-cut maccheroni alla chitarra with sea urchin and crab.
Perennial burger mecca Shake Shack continues to be one of the most coveted postmuseum pit stops for its nostalgic beef patties, crinkle fries and frozen custard. Thankfully, the usually long queue moves fairly fast.
Like a traditional Japanese ramen-ya, this narrow, below-street-level noodle joint is designed for quick meals. Most seats are along a counter, behind which the chefs crisp pork slices with a propane torch and tend to bubbling stockpots. The specialty here is paitan ramen, a creamy soup that’s a chicken-based variation on Hakata, Japan’s famous tonkotsu (pork) broth. The most basic version, the Totto chicken, is a flavorful, opaque soup bobbing with thin, straight noodles and slow-cooked pork ridged with satiny fat. The real winner, however, is the miso ramen, enriched with a scoop of nutty fermented soybean paste and wavy egg noodles. Ramen is generally a feast unto itself, but you can bulk up a meal with sides like char siu mayo don—a mound of rice heaped with more unctuous pork, yuzu-accented mayonnaise and raw sliced scallions.