Steps Leading Up Photos - Broadway

New Adventure's Production of the tale of Cinderella has never been more salacious or delicious. The dancing is superb, as well as the artistry involved in every facet of the production. With the updated scenario created, Cindy's world is smack dab in the middle of World War II. Directed and Choreographed by the incredible Sir Matthew Bourne, and loosely based on his parent's war stories, we are taken to London in the '40s, during the middle of air raids, bombings and destruction. The set design and wardrobe is all very drab in muted black and grey reflecting the tone of the environment. Wickedly creative is the choreography, the sets, the costumes, lighting and sound, not to mention the score by Prokofiev. Cinderella Opus 87 is such a melodious wonderland for a choreographer and his artistic team to work with. There is such power, intensity and magic in this lively piece. In Sir Matthew Bourne's hands, and feet, it is a fabulous, imaginative display of artistry and brilliance.

When Gaston Leroux published THE PHANTOM OF THE OPERA back in 1911, little did he realize the numerous chandeliers that would come crashing down through the decades, and I've witnessed a good number of them. First, in 1925, there was 'the Man of a Thousand Faces,' Lon Chaney, Sr., who frightened poor Mary Philbin (a well-done version, even IF the film was silent); then, for Universal in 1941, Claude Rains (Bette Davis' favorite co-star) was a more subdued vocal coach for soprano Susanna Foster (a wooden Nelson Eddy, alas, is a greater impending horror as 'Raoul'). I could go on - even Herbert Lom, the actor who was the harried police superior to Peter Sellers' 'Inspector Clousseau,' took a swing on the old light fixture. (And let us not forget diminutive Paul Williams in the slightly askew PHANTOM OF THE PARADISE.) All of these pale, of course, in comparison to the legendary interpretation by Michael Crawford in the Andrew Lloyd Webber musical, which first brought the audience to its feet in 1986.