I saw this Friday and absolutely adored it. They have to either film it or do a cast album, preferably both. And while were at it, I would be delighted to see this production move to Broadway. Not only is the cast dynamite, but there's so many other wonderful choices from the creative team, and I'm sure they'd make even more if they did a complete staging. Based on how good they were here with minimal rehearsal time, Neil Patrick Harris, Sara Bareilles, Heather Headley, and Gavin Creel would all easily get Tony nominations. They'd be getting into the creative categories as well, and I can see some of the other performers being recognized. If a puppeteer can be, then Kennedy Kanagawa absolutely should be.
As it was, the use of scripts was very minimal. The only actor who consistently used one was David Patrick Kelly, and that was only as The Narrator, so it fit with the character, complete with the show's lone stand on the side for him to place it. When he was actually interacting with characters he didn't read from the script. The scripts were so sparse I seriously do have to wonder if they're aiming for a full production, it's almost entirely realized in such a manner. The only stage work that would really need a thought out change is how they used those stairs, Denee Benton's tumbles too telegraphed and slowed down one of NPH's entrances. Maybe it's just my love of the whole thing though, but even that was enjoyable.
But let me talk about the actors. I absolutely adore Christian Borle, he might be my favorite actor currently working on Broadway. I have no doubt in my mind I'd have loved his Baker and while I'm still saddened to have missed him, Neil Patrick Harris was as good in the role as I could've asked for. Singing wonderfully and clearly, he goofs it up when called for, but as it stands he played the straight man with impeccable comedic timing. And being the closest thing we have to a central character, he brings in the charm and pathos perfectly. You really do feel for him in both comedic and dramatic moments. I pity anyone who cancelled their tickets because of him. Also he gave a delightful shoutout to Chip Zien (robbed of that Tony nod) in the playbill.
He had a similarly stellar partner with Sara Bareilles. I had commented here previously noting that while I was excited for her, I was a little wary. When I watched the pilot to Girls5eva, I thought her comedic timing was a bit off. I had already heard that it improved as the show went on, and clearly it has, because she's hysterical here. Joanna Gleeson's legendary turn in this part will never be topped. It seems Bareilles knew that, because she amazed me by giving a totally different interpretation that stands on its own. She's much sweeter, even when pulling off not quite so moral actions. She earns different, new laughs this way, and it actually makes her Baker's Wife even more tragic. And of course, her voice is impeccable.
When Heather Headley started out, something was a little off. Her music was excellent from the get go, but her early spoken scenes - while very engaging - arguably needed a bit more spunk and comedy. It was then thrilling to see her grow into the role during the performance, because whatever she was lacking, she found it, and then some, and I'm sure she's only getting better. Her Witch brings the proper camp, but is more cool and otherworldly, especially before her transformation. She really brought out the sympathy in this part. She's less of a bully and more desperate and unstable, even playing out some real regret and guilt. I feel in the wrong hands, The Witch gets off too easily, but that's not the case here, and her karma only elicited sympathy.
Maybe I'm just a sucker for Cinderella's Prince, but Gavin Creel was probably my favorite performance here. Unlike Robert Westenberg's comically stiff hyper masculine ham, Creel's is more sleek, sleazy, and campy, and the result was similarly uproarious. He was just as good playing The Wolf, really bringing out everything he could in the smaller role. Though his unmistakable tenor might seem an odd choice for the role, his flawless singing is thrilling. And in the midst of all his hamming it up, he still makes sure to bring out some genuine heart, making it clear his character's a jerk, but leaving you liking him anyway.
I'd say Denee Benton and David Patrick Kelly are in a similar spot. They both have room to grow, but their work is still wonderful, and I imagine they'll continue to get better. Denee is a delightful ingenue, her voice is to die for, and she kills the scene where Cinderella sands up for herself. Kelly seems incredibly happy to be sharing this story. If this becomes a full blown revival I look forward to him doing less reading and more acting as The Narrator, as he was so great in his bookless turn as the Mysterious Man. Credit for turning the character's "At first when I appear..." and disappearing distractions into some of the best laughs of the night.
I really wasn't familiar with Julia Lester before this, but I hope to see more of her, as she was phenomenal as Red Ridinghood. Whether playing cutesy or dangerous, she was hysterical and lovable. Cole Thompson is also giving an adorable and resonant turn as Jack, I hope to see more of him as well. And Ann Harada is of course as excellent as you'd expect as his mother. Shoutout to Jason Forbach. I'm sure Jodan Donica's great, but the understudy completely stepped up to the plate here. Poor Donica is missing key performances from a short run while his understudy is making his absence a non-issue. And mentioning her prince, Shireen Pimentel doesn't have a whole lot to do as Rapunzel, but you can't deny her voice is gorgeous.
Annie Golden excellently pulled off her three roles. I don't know if her staying silent in the finale was intentional or not, but it was hilarious. It was great to Lauren Mitchell returning to this show as well. Her, Brooke Ishabashi, and Ta'Nika Gibson were expertly obnoxious. That cane joke in Ever After was a masterful touch. David Turner is also as snooty as you'd want the steward to be, he makes the right choice of hinting guilt in Act 2, and his dance cracked me up. And good on this production for giving the thankless role of Cinderella's father some strong material. I like Albert Guerzon's choice to make him actively nasty rather than just oblivious, and his puppeteering actually gave the actor in this part something to do.
On the subject of puppets, Kennedy Kanagawa's work as Milky White is the definition of scene stealing. The cow has never been done so well, and the audience was absolutely eating him up. I love how the actor mimicked the emotions he brought out in the puppet. I love an intentionally cheap Milky White, but this along with the 2000s revival shows that actually letting an actor play around with the cow is the best possible option. His death and resurrection have never been better, and Kennedy earned an extremely deserving hand both times. He's adorable, he's a star! Additional credit must go to James Ortiz for his perfect work on designing the cow and other puppets.
The overall design feels so fresh yet true to James Lapine's original vision. The second cow's movement and the knocking on an invisible house were absolutely intentional choices, and they're great. Whether it's light like the golden egg coming out of the chicken or frightening like a simple change in background after the giant attacks, I just couldn't get enough.
The orchestra perfectly matches the ensemble's beautiful voices, it's one of the best sounding production you'll ever hear of this show, which is why it needs to be captured in one way or another. Rob Berman came out to bow with the cast and Neil rightfully bowed to the man like he did earlier to the prince. Another cute moment during the bow was Sara and Denee ecstatically found a common friend in the balcony, though I sadly have no clue who it was.
Even the merch was great, I love the design they have for it. Mysterious and enticing, but not too adult looking, still keeping that child like wonder. Struck the right blend, just like the overall production did. As for the much talked about chorus, it's not the choice I'd have made, but I'm perfectly fine with it. I understand someone saying it's too much, but given the recent events, it felt nice to have all these people come together. It's okay right now to be a little too cutesy, and I appreciate the intent. Congrats to Lear deBessonet and her stellar team, you knocked it out of the park!
Updated On: 5/8/22 at 10:14 PM
