Ever After:Paper Mill Playhouse (SPOILER ALERT)

[Rolinda HayLoft]

Posted: 5/30/15 at 3:15pm

Whenever I post a review of a show I've seen, which isn't too often, I always preface it with..."This is just an opinion." I'm certainly no Frank Rich and I'm not trying to be.  Just a sophisticated theater fan who loves the debate about a new show and it's subsequent production.  No intentional negativity here so read this with that in mind =)) and take those posts elsewhere.

Cinderella is probably one of the most famous fairy tales of all time. Like it or not, the rags to riches story pops up seemingly daily in pop culture. It's incredulous to believe we are still remaking it in 2015...that however, proves the strength of this story. Cinderella fascinates us.  Ever After, the 1998 film starring Drew Barrymore, was a refreshing take on the usually comic and supernatural versions that we know so well (Disney). In fact, it felt more like historical fiction than it did a fantasy tale. Unfortunately, the creative team behind the new musical adaptation of Ever After, running its premiere production at Paper Mill Playhouse, misses their chance to do that same thing. Director Kathleen Marshall (showing much more confidence in the dance numbers) doesn't quite know how to transfer the charm and realness of the film (say the way John Tiffany did with Once) to the stage.  Her result is one part camp comedy that feels over the top for the show and then another part that is so sedated it lacks life and energy. Don't get me wrong, it's not easy to create that sweet spot in the middle, but Miss Marshall misses that target. Her staging seems uncertain and the actors seem misguided in finding choices that create memorable characters. Her eye also lacks (in my opinion) the ability to sense the beauty that this story needs in order for us to truly be transported into 16th Century France (say the way David Leveaux, who directed the Nine and Fiddler On the Roof revivals, could have brought to the table).  She also misses most of the comedy in the acting scenes, but too her credit finds it in some of the dance numbers...the highlight being 'All Hail the Gypsy Queen' where the forest gypsies mistake Danielle (the Cinderella character) as their queen.

Derek McLane's set composed of wooden scaffolding that runs along the back three walls of the stage is unattractive and unimaginative.  It barely even indicates what era the show takes place in (he uses this architectural idea to much better affect, beautifully even, in Broadway's Gigi). Olivia Sebesky's projection design using the back wall as the only sign of setting is probably the least effective element in the show.  Unfortunately it looks as though she downloaded palace interiors from a google image search (not trying to be funny here) and uses a slide projector to show them on blank white wall. Jess Goldstein's costumes don't fare much better looking far too labored and even Vegas showgirl likesequence (in 16th century France?) as opposed to the the simple beauty the subtle blush that the morning sun brings to a garment did so well in the film. She makes the prince look more like a glam rock god the likes of David Bowie as opposed to a member of nobility.  The music direction by David Gardos is not helping the truly beautiful score tell the story effectively. There are nuances being missed in every song.

This is a star studded studded cast (if you are a real theater fan that is). Margo Seibert as Danielle sings strongly and in the more serious moments she soars. She misses the comedy, though I'm not sure it's all her fault.  James Synder as Prince Henry is appealing if not over acting for most of the show.  He also is music directed to over sing almost his entire section of the score (he comes off as a contestant on The Voice who is trying way to hard to please). Christine Ebersole as the Baroness (Wicked Stepmother role) sings in STUNNING full voice and has one of the evenings most gorgeous songs 'After All'. Again, I'm not sure it's her fault, but in the book scenes she comes across as dondescript, bland, and dare I say uninteresting (hard to say that considering she gave one of the most glorious and interesting performances in Broadway history in Grey Gardens).  Like I said, finding that middle ground between not doing enough and doing too much as the wicked stepmother the way Angelica Houston did in the film is tough. Tony Sheldon as Leonardo da Vinci is directed to be a clown mostly, although his smart instincts as an actor make him dig into a more serious dignified side of the artist/inventor. Andrew Keenan Bolger plays a farm hand and apprentice and even though he is appealing, the role is quite possibly the most thankless and unnecessary I've ever seen.  If I were a producer I would lobby for the role to be cut. The King and Queen roles could use a MAJOR injection of humor, especially since they are played by two great comedians Charles Shaughnessy and Julie Halston. The chorus sings well and really its the guys who play the gypsy thieves who get to shine in the before mentioned 'All Hail the Gypsy Queen'.  This is not a chorus show, they virtually have no lines and only sing in the group numbers.

The score by Zina Goldrich is truly the centerpiece of the show. It has several STUNNERS throughout.  The opening number 'Ever After' indicates that your ears are going to be very pleased throughout the two hours.  The Baroness has an understated lament entitled 'After All' that is crafted to perfection and is the best interpreted song of the night sung by Miss Ebersole. The first act closer,  'Out of Darkness' a love duet between the Prince and Danielle, is Broadway classic in the making. Miss Goldrich goes a bit awry with the Prince's songs, specifically act two's 'Right Before My Eyes' where the arrangement has him singing in a key way too high for the emotion of the moment and he looks much more like a modern pop star than a prince from 16th century France. That being said, this could be a Tony nominated score if it gets a Broadway bow.  Marcy Hiesler is close behind with the lyrics...the hooks are simple and memorable and take flight when the music hits them, but the verse isn't special enough for this time period.  It doesn't have to and shouldn't be as lyrical as poetry, but it needs much more of the influence of the time period to feel like its telling this story.  Her book work is sturdy, it could use more humor in the right spots and less of a scooby doo type ending (it jumps the shark into camp territory there) but this has the makings of a Broadway show.  I think most of all, though it needs a new creative team.

go see Ever After and form your own opinion =))

Rolinda Hayloft

[tazber]

Posted: 5/30/15 at 3:37pm

Thanks for that detailed review!