You raise a very good point about audience expectations.
That should be a paramount concern of all creators and producers.
It's like two recent NY operatic productions of Hansel and Gretel that left out the life-sized gingerbread house in the woods - exactly what people would be expecting to see.
I am amazed at how little actual critique has been posted about this adaptation. Let me make this as clear as possible for anyone who is or was interested in seeing the first Broadway production of Cinderella; this is not a production of Rogers & Hammerstein's Cinderella. The simple fact, regardless of how it is advertised, this is an adaptation using the original music.
Revisiting a classic piece and revising for a modern Broadway audience is controversial, but can be exciting. A good adaptation can be just what the doctor ordered for some products of the "golden age". However I would argue, strongly in this case, that "Cinderella" should have been mounted as a combination of the versions that currently exist in the public domain. The words that comes to mind when thinking about this adaptation are presumptuous and arrogant. The addition and subtraction of story components was not necessary for this piece. Having seen and produced the show I can confidently say that the book holds up as strongly today as it ever has. While the attraction to add additional pieces must have been tempting, the result is something that felt as though the audience is watching a show that was written by someone who admired the forced comedy of "Spamalot" admired a modern fairytale like "Shrek", felt moved by the moral of "Billy Elliot" and designed by someone who is in love with the design of "Wicked". The entire show felt like a recycled piece of Broadway Bubblegum. Now, a good piece of bubblegum can be a fun two and a half hours; but that is all it will be. "Cinderella" is about love, loss, and life. It's a simple story, it's a classic fairytale, and above all it is a classic work. In a time when Broadway has become a merry-go-round of revivals and cookie cutter shows, this is a classic that has always deserved a Broadway mounting and unfortunately to this day has not had one. The issues begin with the material and simply spiral out of control. I do not wish to be disrespectful of the professionals who are performing, but I do not feel as though this was the best performance of those onstage. Whether that is the cast or the musical direction is unknown. As an audience member I can say there were strong and weak points vocally. Technically the show is lacking in ways that were unexpected. There were elements that were expected and unfortunately elements that were lacking. On a stage that once had a helicopter land on stage, you would think there would be a castle that truly amazed. The size and scope of the Broadway Theatre's stage can lend to a massive set. This set was far from massive. Were there some special effects that amazed? Yes. Could it have been more? Absolutely. I admire and respect the stagehands that make the magic happen onstage, I just do not like to see them. There will be people who disagree with this commentary and enjoy the adaptation. This was not the show I wanted to see. I just do not understand the production decisions. Perhaps one day in my lifetime there will be a production of "Rogers and Hammertein's Cinderella"; but for now we have "Cinderella" inspired by Rogers and Hammerstein.
To be honest Yanni, I felt that your "review" bordered on the incoherent. I was interested in what you had to say, I just had a very hard time making sense of it.
CZJ at opening night party for A Little Night Music, Dec 13, 2009.
A friend saw the first preview and we texted back and forth about. His general thought: is it a complete mess? No. Is it perfect and Matilda better watch her back at the TONYS. Also no. He just didn't feel like it flowed and the set could have been better because its the Broadway stage which is huge. But like I mentioned last time, he believe there is time to change things without a complete overhaul even though it wouldn't hurt.
The house set is quite lovely but the place is non-existent, save for a few chandeliers during the ball scenes. When Topher is shown in his throne room, it's basically his throne and a tapestry-like backdrop.
A little swash, a bit of buckle - you'll love it more than bread.
It definitely is far from the original.. But it is its own entity which could hurt it or help it. The original songs are still beautiful. Book needs work and Santino needs a new crown. That's all I really have to say as of now, so early on I'm going to have to go again later in previews.
Well, there's the plot of Cinderella. This time one stepsister wants the prince, the other loves a revolutionary. This time the prince's parents are dead, and the evil prime minister is running the kingdom. The fairy godmother now appears sometimes in the guise of a woman in rags. Pumpkin, ball gown, coach, glass slipper, ball, midnight, --- that's all still there.
Then there's the added plot of the desire for social change on the part of the revolutionary and Cinderella; by the end of the evening, political changes are implemented.
Sales must be doing well. I went to the box office yesterday to buy tickets and they are no longer accepting any coupons/discounts for weekend performances.
Having seen and produced the show I can confidently say that the book holds up as strongly today as it ever has.
Which is not as flattering a statement as you probably meant it to be. The show has never had a strong book, which is why it couldn't push beyond regional productions and 2nd-tier tours. I'm glad this team made an effort to dig the show out of its perpetual rut as a simple musical for families with young children.
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
Why don't you go see the show and decide for yourself? Seriously, isn't this asking how the magician does the trick? They'd no longer be "special effects" would they?
CZJ at opening night party for A Little Night Music, Dec 13, 2009.