BWW Reviews: Broadway's CINDERELLA Is Dreamy Goodness At TUTS

If the shoe fits wear it...or in this case, marry a handsome prince and live in an awesome palace where you can escape your nasty stepmother.

CINDERELLA has gone through countless updates and innovations from it's original incarnation when it was presented for television in 1957. There have been three televised versions, staged versions in both the U.S. and London, and of course the Disney animated feature. The recent success of the motion picture starring Lily James is proof positive that CINDERELLA has a permanent place in the public's hearts. Douglas Carter Beane wrote a new book for the musical's first Broadway production but the crux of the story is the same; Cinderella is an orphan confined to drudgery, and dreams of freedom and romance, and, through magic provided by her fairy godmother, gets exactly what she wants. Beane's plot is rather politically progressive with Cinderella exposing the injustices of the kingdom to Prince Topher, and has added some gumption to the title character, with Cinderella controlling what happens to the glass slipper for the first time ever. Unlike many other CINDERELLA versions, in this version, directed by Mark Brokaw, the prince's parents have died, and left the kingdom in the hands of Sebastian, an arrogant and calculating minister, who is the prince's guardian and has obscured the prejudicial and oppressive laws he's tricked the prince into upholding. Cinderella's household contains a cruel stepmother and a cantankerous stepsister, Charlotte. In this version, however, the other stepsister, Gabrielle, is kind and supportive of Cinderella, and has been written as a delightful secondary character with a storyline of her own. She is in love with the town revolutionary, Jean-Michel, who has eyes for her, as well.

Audrey Cardwell leads the cast as Cinderella with an appealingly gentle stage presence and lovely voice. The cast is made up of actors who commit to their roles and interact well together. Andy Huntington Jones is a progressive prince- More likable, gentle, and self-depracating than princes in years past. The fairy Godmother is played by Kecia Lewis with appropriate grandiosity and wit. Beth Glover radiates vinegar as the cruel stepmother who tries to control everyone. Kaitlyn Davidson is quirky fun as the "nice" stepsister Gabrielle, and Aymee Garcia garners big laughs as the cantankerous Charlotte. Branch Woodman plays Sebastian with wry humor and ample stage presence, and David Andino plays the lovable (but dorky) Jean-Michel with a nice combination of passion and timidness.

The comedy in the story has definitely been amped up, with one-liners and quips around every bend. Some of it works- when Kecia Lewis says, "There are a lot of beautiful gowns with crazy women in them!" it's funny and it works, but there are other moments in the show when the humor feels a little pushy.

Audiences are enthralled by transformation and CINDERELLA is a gift that keeps on giving. There are several makeover moments in this production that are nothing short of bewitching. Amidst light and smoke effects, cute little woodland animals become glittering footmen. Twice in the show, Cinderella's bland work clothes are magically transformed into gorgeous ball gowns in front of our very eyes. In another scene, Cinderella's dazzling white cloak seems to be whipped into another dimension as a spell disintegrates. The fairy godmother unravels her own heap of rags into a huge pink and purple ball gown, which, regrettably, contains two enormous bustles. (It's all about that bass, indeed.) But it's fabulous eye candy- Fashion and magic all rolled into one.

William Ivey Long's glamorous costume design lives up to all expectations. All of the costuming, from the prince's attendants' suits to the women's ball gowns to the beautifully tailored coat sported by Sebastian is a thing of precision and thoughtfulness. Cinderella's first ball gown is a lush white confection befitting any up-and-coming princess. The breathtaking finale is Cinderella's wedding gown, which is somehow decadent and demure at the same time. One exception; Cinderella's second gown, a shining gold dress, is a little too reminiscent of Belle's infamous gown in Beauty and the Beast, especially with the hairstyle that accompanies it.

Anna Louizos sets are beautiful and capture the magic of the show. The forest setting is nuanced and detailed with the light and dark tones, and the palace is dreamy with it's white-gray pillars and parapet. The magic coach literally inspires gasps with it's sparkles and light.

Broadway's CINDERELLA includes the classic Rodgers and Hammerstein song list, with additional songs, including "Me, Who Am I?", "Now Is the Time", "The Pursuit", "Loneliness of Evening" and "There's Music in You". Musical highlights of this production include Antoine L. Smith as Lord Pinkerton, singing the lead in "The Prince Is Giving A Ball" with his sublime and satisfying voice. "Ten Minutes" ago is heartfelt and warm as Andy Huntington Jones puts his heart on his sleeve. The duet "Do I Love You Because You're Beautiful" is gorgeous, with Jones' and Cardwell's impressive vocals blending beautifully. "There's Music In You" sung by Kecia Lewis, is moving, but Lewis sounds richer and more assured in her delicious lower register.

Broadway's CINDERELLA is transportive and fun, but if you're looking for a deep, life-affirming experience this isn't the show. It's perfect entertainment for anyone who likes a lively, colorful production with a lot of glitz, particularly little girls with stars in their eyes.

For tickets: http://www.tuts.com/Shows/Seasons/20142015Season/Cinderella/tabid/689/Default.aspx

CINDERELLA runs May 26 - June 7.

Photo Credit: Carol Rosegg