By Audrey Gervasi
Cinderella is of course the classic tale of a young woman who realizes her dream of going from rags to riches and finding true love with her prince. As we are reminded at the beginning of the show, some version of this story has been told in various cultures for centuries. Clearly the archetypes--the ingenue, the fairy godmother, the wicked stepmother, the prince--continue to resonate with readers and audiences. And who doesn't enjoy seeing a kind, deserving person smiled upon by good fortune.
Nevertheless, the concepts that this fulfillment can be accomplished by being largely passive, and that a woman need only find her "prince" to live "happily ever after" both seem hopelessly outdated. From time to time attempts have been made to modernize this story to change those concepts. Not so with this version.
The Rodgers and Hammerstein musical Cinderella, now playing at the 5th Avenue Theatre, is updated to some extent: much of the humor is self-deprecating, quick and witty, reminiscent of recent Disney animated adaptations of classic fairy tales. It also features a multi-racial cast. However, no attempt has been made to update the outdated messages. This could be overlooked if the message were not directed at children, and if the musical itself was so wonderfully grand that the story became secondary. But this is not the case.
While this production is colorful and lavish, and generally well-performed, the music is disappointing--certainly not Rodgers and Hammerstein's best work. The songwriting duo wrote the musical version of Cinderella for television in 1957. It worked on the small screen, but falls far short of their other scores written specifically for the stage. For example, Cinderella pales in comparison with such R&H classics as Oklahoma (the 5th's next production of the 2011-2012 season, and something to look forward to), South Pacific, and The Sound of Music, to name a few. Which is not to say that there aren't any catchy tunes. Impossible, the duet sung by Cinderella her fairy godmother, is delightfully bouncy and is the likeliest tune to be running through your head the next day. The romantic ballads, while pleasant, are unlikely to hold the attention of the 8-year-old girls they are aimed at.
Jennifer Paz is a comely and sweet Cinderella with a lovely voice, and Brandon O'Neill as the prince delivers an adequate performance but overall the performances lack the energy one generally expects from a 5th Avenue production, with one exception. Greg McCormick Allen's Lionel (the prince's steward) is delightfully entertaining. Allen, a 5th Avenue veteran, is a talented actor, dancer and singer, and he brings a mesmerizing energy to all of his roles. His tap dancing scene, and his scene where he sarcastically attempts to foil the attentions of the wicked stepmother are among the best of the musical. Sarah Rudinoff and Nick Garrison as the stepsisters add slapstick comedy, but I've never been completely comfortable with seeing those characters portrayed as hideous clowns. It just seems too over the top in contrast to the rest of the characters.
One thing this production does very well is the special effects. The illusions of the fairy godmother's appearance and the transformations of pumpkin into carriage and mice into horses is quite spectacular and effective.
This show will no doubt hold appeal for the undiscerning little girls taken to see it by their moms, aunties, and grandmas, and perhaps that is reason enough to produce it. However, it is a bit of a disappointment to see 5th Avenue's grand talents dulled by mediocre material.
