BWW Reviews: New CINDERELLA Dreams the Impossible at Ahmanson

Rodgers & Hammerstein's Cinderella/new book by Douglas Carter Beane/lyrics by Oscar Hammerstein II/music by Richard Rodgers/choreography by Josh Rhodes/directed by Mark Brokaw/Ahmanson Theatre/through April 26

Broadway's Tony Award-winning production of Cinderella (2013) has a brand new book by Douglas Carter Beane and an expanded score of the glorious music of Rodgers & Hammerstein. As the musical based on the fairy tale possesses a more contemporary storyline, both Cinderella (Paige Faure) and Prince Topher (Andy Huntington Jones) are different - they are orphans, whose similarities in character make them a perfect match. No more losing her Venetian glass slipper at the first act curtain, this Cinderella, with much help, love, support and encouragement from her fairy godmother (Kecia Lewis) is in control and journeys into the second act with a mission to make the "Impossible" truly "Possible".

Pro-feminists adored this new concept when Cinderella opened on Broadway for the first time two years ago. It seems ahead of its time, but many of these ideas in the plot are not entirely new. They come from the French adaptation of the story written by Charles Perrault, in which the kindness and compassion of Cinderella defeats the ridicule and sarcasm of the court. She actually helps the Prince succeed. There are politics brewing: the poor are mistreated, being stripped of their property. There's a revolutionary Jean-Michel (David Andino) who stirs up minds with his bible-like historical book of leaders. He gives it to Cinderella and then Madame (Fran Drescher) steals it away from her and gives it to her daughter Gabrielle (Kaitlyn Davidson), who in turn ends up falling in love with Jean-Michel, adding another new element to the story of Cinderella as we know it - that one of the wicked stepsisters is actually a nice human being. But again, this idea was in the Perrault version of Cinderella, which greatly influenced Beane's thinking. Gabrielle becomes Cinderella's best friend. A smart cookie this Cinderella, who knows what she wants and sets out to get it! She still has to contend with Madame and the ugly stepsisters Gabrielle and Charlotte (Aymee Garcia), but, never fear, she takes on the challenge with gusto and love.

She still loses - well, leaves - the slipper behind - it's all done with delicious tongue.in.cheek humor, and of course, the happy marriage between the two lovers occurs, but what is achieved in the kingdom far surpasses what happened as we know it. The poor are treated as equals, they retain their lands, and even Jean-Michel is appointed as new administrator to the King. Everything has improved for the better. For those purists, who loved the unfettered romance of the story before the changes, it's still here plus many, many more pleasantries, like Cinderella's transformation from rags to ballgown. It's amazing. Greatest spin since TV's Wonder Woman! How did they accomplish that?

What a sumptuous cast and creative team! Under Mark Brokaw's nicely paced and divinely staged direction, Faure is lovely as Cinderella with a voice to match. Huntington Jones has a boyish quality that works well, and his singing voice is quite heavenly. Drescher as Madame, or the wicked stepmother, is right on target - she brings a whole lot of fun to the role, as expected of a comic diva. Lewis is miraculous as Crazy Marie/Fairy Godmother. Her final song "There's Music In You" is a knockout. Davis is delightful as Gabrielle and Garcia over.the.moon hilarious as the overweight Charlotte. Her "Stepsister's Lament" is a hoot. Andino as Jean-Michel and Branch Woodman as Sebastian add appropriate moments of humor, and Antoine L. Smith sings magnificently as Lord Pinkleton. Josh Rhodes provides some fast and furious choreography. William Ivey Long's gorgeous costumes and Anna Louizos' simple but perfectly functional scenic design add much color.

Like a rich and satisfying banquet, this Cinderella is scrumptiously realized from top to bottom. Thanks to Beane for his excellent sense of fearlessness in changing and adapting the beloved story to 21st century consciousness and still keeping it magical. It works heavenly on every level.

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