BWW Reviews: CINDERELLA's New Glass Slippers Are a Perfect Fit

"You'll leave him a clue,
For example, a shoe.
And then see what he'll do."

Those lines may be sung by the Cinderella in Stephen Sondheim's "Into the Woods," but, with the new book by Douglas Carter Beane in place, they would be just as fitting for our heroine in the national tour of Rodgers and Hammerstein's "Cinderella," which opened Wednesday night at the Cadillac Palace Theatre. That is to say, the Ella the audience is treated to in this version of "Cinderella" is much wiser, more grounded, and much more aware than we are used to seeing in this classic fairytale. And, instead of a series of accidents (such as that slip of her shoe) leading the way to her new life, this Ella, though still full of innocence and kindness, is always a little more in control of her destiny. By the end of the show Ella's journey has gone beyond those trips to the palace (and those post-midnight trips back home); she has realized the power she has to make change for herself and those around her. The result?: All of the fun and wonder of the traditional fairytale only made more exciting and engaging by Beane's infusion of humanity and depth in the new book.

For those fairytale purists simply looking for a night of light entertainment, don't let the idea of a new book scare you away. Even with the inclusion of a political sub-story about class systems (simple enough any youngin' could understand, yet true enough that the adults can appreciate the relevance of the situation to today's world), the show provides just as much enchantment one could wish for. With a perfect atmosphere created by Anna Louizos' set and Kenneth Posner's lighting design, we get to see pumpkins turned to coaches, a Fairy Godmother flying above the stage, and, most impressively, beautiful ball gowns that seem to appear out of thin air. These Tony-winning costumes by William Ivey Long literally unfold before our very eyes. Impossible to be accurately described, this bit of stagecraft is worth the ticket price alone.

And, the musical is still full of all of the iconic "Cinderella" moments, including the happy ending we all know and love. But, thanks to the reworked book, that happy ending has never felt more earned, more earnest, or more real. Beane takes a story that is easy to passively (even if still enjoyably) take in and makes the audience become actively engaged. And, when our girl of the cinders becomes engaged (to be married), it's much more rewarding than ever.

This is largely due to the expansion of Ella and her love, Prince Topher's (played with disarming sweetness and a smooth voice by Andy Jones) relationship. For those who feel the "Cinderella" story (or any of the classic Disney movies) promote an idealistic, and unrealistic, image of love for little girls, this version is for you. Although always good at heart and puppy-dog adorable, this Prince Topher is not immediately that put-together Prince Charming of the fairytale. Ella challenges and encourages Topher and, when they do finally end up together, never has their love felt more real or exciting. We are treated to a relationship that has built a foundation based upon more than just looks (but still full of dreamy romance, no doubt).

While the book revisions are certainly the biggest surprise of the night, I would be remiss to go any further without mentioning the beautiful performance of Audrey Cardwell in the title role. Cardwell, usually in the ensemble (while also doubling as the standby for Cinderella and one of the stepsisters), was not the first actress we saw in the role on opening night. The headliner, Paige Faure, began the night as Ella, but, for unknown reasons, could not finish the show. A few scenes in, Cardwell came dancing onto the stage to play our leading lady for the rest of the night. The transition was seamless and I suspect that, until the announcement was made at the beginning of the second act, most audience members didn't even notice the Cindy-switch.

This is much in part to the skill, warmth, and comfortableness Cardwell brought to the role; one would never have been able to guess she wasn't going on every night as the leading lady. Cinderella's greatest attribute is kindness and, with her sincerity and sweetness, Cardwell is a perfect match in the role. It was an absolute treat to get to see her perform and, while the show is certainly still worthy on its own, it was Cardwell's performance that truly brought the entire night together for me.

Along with Cardwell is a cast of talented performers (Ashley Park as Gabrielle, Ella's not-so-evil-stepsister, gives a particularly funny and heartwarming performance). The first act starts out a little shaky, but once the ball (literally and figuratively) gets rolling, the night gets better and better and the surprises keep coming.

This revised version of "Cinderella" provides everything you could want in a musical fairytale, plus quite a bit more. This Ella, though still the girl of the cinders with the evil stepmother who wins the heart of the Prince, is more world-conscious and wittier than one usually associates with this character, creating a fully-dimensional woman I would think any parent would be happy for their child to look up to. Adults and children alike will be delighted and swept away by the depth and sincerity of this lovely new production of the classic musical.

"Cinderella" is currently playing through January 4th, 2015 at the Cadillac Palace Theatre (151 W. Randolph St.) through Broadway in Chicago. Tickets can be purchased at www.broadwayinchicago.com, by calling (800) 775-2000, or by visiting the box office.

Photo Credit: Carol Rosegg

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