BAD CINDERELLA to close on June 4- Page 22

[Jeffrey Karasarides]

Posted: 3/24/23 at 9:46am

ACL2006 said: "Does this show have any chance at any Tony nominations? Carolee?"

I am currently predicting Carolee to be the lone representation for the show. In a recent Tony predictions video for Gold Derby, David Buchanan mentioned that he can see her having a similar path to a nomination to Mary Beth Peil's for Anastasia. This respected Broadway veteran who had two major roles in the same season, and is recognized for the latter as the standout in a show a number of people didn't really care for.

[Dollypop]

Posted: 3/24/23 at 9:50am

Judging from the reviews, it's a wonder this show ever got to Broadway.

[Kad]

Posted: 3/24/23 at 10:04am

I wouldn’t be surprised by a Best Costume awards nod, considering that nominators tend to reward stuff like this in that category. 

[WldKingdomHM]

Posted: 3/24/23 at 10:25am

So what’s next for the Imperial?

[A.J.]

Posted: 3/24/23 at 10:27am

TaffyDavenport said: "Although Jesse Green barely mentions her in his review, I thought Linedy and her characterization were the biggest issues with the show. I don't blame her, though. Like Beanie, she should never have been hired in the first place. Watching video of the London production and Carrie Hope Fletcher's performance, I can understand why the reviews were positive over there, but, with the wrong actress in the lead, the show doesn't have a fighting chance."

I’m convinced they set her up to be the scapegoat.

Why else cast an unknown, with limited experience or following, who struggles to sing the score?

[MVintheheartland]

Posted: 3/24/23 at 10:42am

I saw it about 2 weeks ago. It was just Meh. I feel bad for the leads because I thought they had good chemistry, but the whole production was just kind of dumb. And I actually flew in to see "Diana" before it closed just to enjoy the camp. But it just didn't seem to know what it was. Plus, the hunks, although fun to look at, didn't really seem to add to the show. 

Anyway, I hope Linedy Genao and Jordan are able to jump from this production to one that make better use of their talents. 

[ErmengardeStopSniveling]

Posted: 3/24/23 at 10:49am

Nobody sets out to put on a bad show, and hiring Linedy as a "scapegoat" is a stretch. Think it was all just a poor judgement call on the part of ALW and the team. We've seen poor judgement plenty of times before - Katrina Lenk, Elena Roger, Casey Likes, Ashley Brown, even Sara Brightman (a different situation).

But also, she's set up for failure here by the direction, the song keys, and the production around her. She's not good, but it isn't an embarrassing performance.

As some of the reviews point out, the prince & the royal family is a much more interesting protagonist arc than what they've given the Cinderella character here. Had they chose to make it about the royal politics & matchmaking in the kingdom of Belleville, where a character named Cinderella also happens to live, this might have been a more effective musical. But that's not the show that ALW & co. set out to write.

Updated On: 3/24/23 at 10:49 AM

[Jordan Catalano]

Posted: 3/24/23 at 10:51am

Have any shows gotten reviews like this and gone on to be successful? I’m sure there have been, I’m just drawing a blank. 

[RippedMan]

Posted: 3/24/23 at 10:51am

A.J. said: "TaffyDavenport said: "Although Jesse Green barely mentions her in his review, I thought Linedy and her characterization were the biggest issues with the show. I don't blame her, though. Like Beanie, she should never have been hired in the first place. Watching video of the London production and Carrie Hope Fletcher's performance, I can understand why the reviews were positive over there, but, with the wrong actress in the lead, the show doesn't have a fighting chance."

I’m convinced they set her up to be the scapegoat.

Why else cast an unknown, with limited experience or following, who struggles to sing the score?"

What’s her background and where did she come from? I mean the press vid they releases where she sounded not amazing should have been some indicator. Is she working for scale? Is that why they hired her? I don’t get it. 

[ErmengardeStopSniveling]

Posted: 3/24/23 at 11:00am

RippedMan said: "What’s her background and where did she come from? I mean the press vid they releases where she sounded not amazing should have been some indicator. Is she working for scale? Is that why they hired her? I don’t get it."

She was an understudy in DEH (Bway/tour) and was in the ensemble of ON YOUR FEET (understudied Gloria and played her at Paper Mill). She didn't come from nowhere –– it's an ensemble person getting their big break. Salary isn't a factor here, even a Tony nominee isn't going to make huge bucks in a musical like this if they don't have legit TV/film/pop culture name value.

As I said above, it's just a poor judgement call in the casting. And the casting director cannot be blamed (CDs are pawns and functionaries), the decision was by ALW and Laurence Connor.

[The Distinctive Baritone]

Posted: 3/24/23 at 11:24am

Yes, casting directors - for original casts anyway - gather and pre-screen actors, but the final decision are made by the directors and producers.

[Danny1984]

Posted: 3/24/23 at 11:40am

I really rather enjoyed this show. Some great songs, a decent set, stunning light and sound and the story whilst unremarkable didn't offend me as it does most of the reviewers. Carolee and Grace were sensational and I also enjoyed Linedy and Jordan. 

I left having had fun and humming many of the tunes - exactly what I want from a musical. 

This clearly isn't going to run for long but I really hope it can manage a few months as I'd like to see it again and I honestly think it deserves to. 

[kdogg36]

Posted: 3/24/23 at 11:41am

ErmengardeStopSniveling said: "We've seen poor judgement plenty of times before - Katrina Lenk, Elena Roger, Casey Likes, Ashley Brown, even Sara Brightman (a different situation)."

I'm assuming you thought Lenk was wrong for Company, and I know quite a few people agreed with you. But I wasn't aware that anyone blamed Likes for the demise of Almost Famous, assuming that's what you're referring to. Am I wrong about that?

[ErmengardeStopSniveling]

Posted: 3/24/23 at 11:48am

I don’t think anyone is “blaming” Lenedy for these reviews or the show’s ultimate failure — she’s just kind of boring. 

[The Scorpion]

Posted: 3/24/23 at 12:38pm

JasonC3 said: "It is interesting to now go and read reviews of the London production in contrast:

https://www.westendtheatre.com/90650/news/reviews/cinderella-at-the-gillian-lynne-theatre-reviews-round-up/"

I was totally baffled by the London reviews when they came out and was certain that this only happened because of the context of this being one of the first post-pandemic openings.

Unlike New York, though, London has very few (if any) actual theatre critics left. Most have been let go by their publications and replaced by far cheaper entertainment reporters that the papers can just send to shows and 'review', even though they have no knowledge or any cultural memory. 

[binau]

Posted: 3/24/23 at 12:45pm

kdogg36 said: "ErmengardeStopSniveling said: "We've seen poor judgement plenty of times before - Katrina Lenk, Elena Roger, Casey Likes, Ashley Brown, even Sara Brightman (a different situation)."

I'm assuming you thought Lenk was wrong forCompany, and I know quite a few people agreed with you. But I wasn't aware that anyone blamed Likes for the demise ofAlmost Famous,assuming that's what you're referring to. Am I wrong about that?"

I thought everyone loved Casey, I don't get it. And I maintain that Katrina Lenk was a groundbreaking and excellent Bobbi, far better and more appropriate in the role than Rosalie Craig (and I saw both live). Once the negative chatter/word of mouth started to spread about her voice it seemed impossible to recover. I kind of feel audiences are becoming less tolerant of unusual voices now (see my thread about odd Broadway voices). However, Katrina brought a new sound to Sondheim's work that I don't believe I have heard before. 

[RippedMan]

Posted: 3/24/23 at 1:01pm

ErmengardeStopSniveling said: "RippedMan said: "What’s her background and where did she come from? I mean the press vid they releases where she sounded not amazing should have been some indicator. Is she working for scale? Is that why they hired her? I don’t get it."

She was an understudy in DEH (Bway/tour) and was in the ensemble of ON YOUR FEET (understudied Gloria and played her at Paper Mill). She didn't come from nowhere –– it's an ensemble person getting their big break. Salary isn't a factor here, even a Tony nominee isn't going to make huge bucks in a musical like this if they don't have legit TV/film/pop culture name value.

As I said above, it's just a poor judgement call in the casting. And the casting director cannot be blamed (CDs are pawns and functionaries), the decision was by ALW and Laurence Connor."

Interesting. I wonder if it’s like a weird straight guy thing? I noticed the post called her appealing. So maybe they didn’t notice the singing not being as strong? I mean I’d imagine any ex-Elphaba would have been leagues better. 
 

and I saw one of the first previews of Company and Lenk was miscast. Especially when she had to follow LuPone’s Ladies Who Lunch with a vocally weak and struggling “Being Alive.” It just didn’t work. Acting wise I think she was fabulous in the role. Curious to see the tour and see which direction they go. 

[binau]

Posted: 3/24/23 at 1:02pm

The Scorpion said: "JasonC3 said: "It is interesting to now go and read reviews of the London production in contrast:

https://www.westendtheatre.com/90650/news/reviews/cinderella-at-the-gillian-lynne-theatre-reviews-round-up/"

I was totally baffled by the London reviews when they came out and was certain that this only happened because of the context of this being one of the first post-pandemic openings.

Unlike New York, though, London has very few (if any) actual theatre critics left. Most have been let go by their publications and replaced by far cheaper entertainment reporters that the papers can just send to shows and 'review', even though they have no knowledge or any cultural memory."

Mmmm I think I find that London critics don't know anything about musicals, which is why often shows (e.g. Tammy Faye) seem to get so hyped and then when they finally move to a NYC audience fall flat. The standards are so much different/higher. 

That said, I think Cinderella in London was mediocre and entertaining at points, not a truly misguided disaster. I didn't see Bad Cinderella though. 

Also, with the NYT reviews 'Bad Cinderella: The Title Warned us" - literally my first thought on the rumour of the name was that it would never happen for this reason. How could the decision making be so stupid? I saw it coming from a mile away (or 3000 in literal terms). I think this whole enterprise deserves a 'Tell All' book that tracks the development and progress from London to NYC. Some crazy stuff must be happening behind the scenes.

[JasonC3]

Posted: 3/24/23 at 1:17pm

Yes, the name sets them up for potential problems, but had the show actually been well-received it could have done the reverse:

Bad Cinderella Actually Is Quite Great

Cinderella May Be "Bad," But the Show Is Excellent

[everythingtaboo]

Posted: 3/24/23 at 2:08pm

At what point did they drop this storyline? Seems much more interesting, and more well-received back in 2019...

"It’s still set in the land of castles and fairy godmothers, but the title character doesn’t need a Prince Charming to fulfill her needs. In this retelling, Prince Charming is gay, and runs off with a duke. Cinderella falls in love with Sebastian, an adorable oddball."

‘Cinderella’ musical gives Prince Charming a gay twist

"Lloyd Webber usually premieres his new shows at Sydmonton, his vast estate outside London. But “Cinderella” is being showcased at Lloyd Webber’s the Other Palace, a 300-seat theater just around the corner from the palace: Buckingham. The tight space means that some VIPs are on a waitlist. “Everybody’s dying to get in,” says someone who can usually snap his fingers and get a seat to anything. There were only three performances — Wednesday, Thursday and Friday — and bulletins were arriving as I wrote this.

So far, so very good. The score is Lloyd Webber at his most melodic, Zippel’s lyrics are funny and Fennell’s script witty and poignant, evoking, one person says, the best of the classic Disney movies.

[chrishuyen]

Posted: 3/24/23 at 2:20pm

I'll put it in spoilers just in case, but it seems like they've changed the approach to this storyline

 

Click Here To Toggle Spoiler Content

Technically it's still there, but instead of Prince Charming running off with a duke being a known event, the show starts off with Prince Charming having gone missing after leaving for battle, and his reappearance with his (male) fiance at the end is actually a bit of a surprise moment since they thought he had died.  It comes a bit out of nowhere because you don't expect to see Charming at all, but it's a fun moment

 

[ErmengardeStopSniveling]

Posted: 3/24/23 at 2:28pm

What's the music under the curtain call? That's a bop and I know it appeared elsewhere in the show too.

[JasonC3]

Posted: 3/24/23 at 5:34pm

Good question.

"Why, one wonders aplenty as one watches, did such a distinguished personage of the musical theater as the incomparable Andrew Lloyd Webber choose to spend some of his precious remaining time on Earth on a musical updating of a beloved fairytale that (a) has no demonstrable respect whatsoever for the dramaturgical structure of the source, and (b) comes with a crass and mostly tasteless sense of humor that feels woefully out of sync with the moment."

Chris Jones, Chicago Tribune

 

[pethian]

Posted: 3/24/23 at 5:46pm

JasonC3 said: "Good question.

"Why, one wonders aplenty as one watches, did such a distinguished personage of the musical theater as the incomparable Andrew Lloyd Webber choose to spend some of his precious remaining time on Earth on a musical updating of a beloved fairytale that (a) has no demonstrable respect whatsoever for the dramaturgical structure of the source, and (b) comes with a crass and mostly tasteless sense of humor that feels woefully out of sync with the moment."

Chris Jones, Chicago Tribune

 

I think the answer to that very pertinent question is the same as it is for many creators who reach a certain age after a long history of success--an attempt to be relevant in an ever more youthful world.

 

[David10086]

Posted: 3/24/23 at 6:16pm

To think the money and energy which ALW put into this could've been put into a lavish, 30th anniversary revival of "Sunset Boulevard" on Broadway (not the scaled down / limited run version we had a few years ago, though I liked that very much).