Be More Chill and To Kill A Mockingbird What The Audience Wants
The 20th Annual Broadway.com Audience Choice Awards give theatre goers a chance to vote for what they love. Their choices for Favorite New Musical and Play were no surprise. Nor was their pick for Favorite Revival of a Musical. What was surprising is that Dear Evan Hansen beat out Hamilton and their choices for Leading performances.
FAVORITE NEW MUSICAL: Be More Chill
FAVORITE NEW PLAY: To Kill a Mockingbird
FAVORITE MUSICAL REVIVAL: Oklahoma!
FAVORITE PLAY REVIVAL: The Boys in the Band
FAVORITE LONG-RUNNING SHOW: Dear Evan Hansen
FAVORITE TOUR: Dear Evan Hansen
FAVORITE LEADING ACTOR IN A MUSICAL: Andy Karl, Pretty Woman
FAVORITE LEADING ACTRESS IN A MUSICAL: Eva Noblezada, Hadestown
FAVORITE LEADING ACTOR IN A PLAY: Daniel Radcliffe, The Lifespan of a Fact
FAVORITE LEADING ACTRESS IN A PLAY: Kerry Washington, American Son
FAVORITE FEATURED ACTOR IN A MUSICAL: George Salazar, Be More Chill
FAVORITE FEATURED ACTRESS IN A MUSICAL: Orfeh, Pretty Woman
FAVORITE FEATURED ACTOR IN A PLAY: Jeremy Jordan, American Son
FAVORITE FEATURED ACTRESS IN A PLAY: Celia Keenan-Bolger, To Kill a Mockingbird
FAVORITE FUNNY PERFORMANCE: Stephanie Hsu, Be More Chill
FAVORITE DIVA PERFORMANCE: Orfeh, Pretty Woman
FAVORITE ONSTAGE PAIR: Will Roland and George Salazar, Be More Chill
FAVORITE BREAKTHROUGH PERFORMANCE (MALE): Ephraim Sykes, Ain’t Too Proud
FAVORITE BREAKTHROUGH PERFORMANCE (FEMALE): Stephanie Styles, Kiss Me, Kate!
FAVORITE REPLACEMENT (MALE): Jeremy Jordan, Waitress
FAVORITE REPLACEMENT (FEMALE): Jessica Vosk, Wicked
FAVORITE NEW SONG: “Wait For Me” – Hadestown
Broadway’s A Doll’s House Meticulously Stunning Revival Soars Like a Birdie Above That Clumsy Cat on a Hot Tin Roof
For a revival to find its footing, it has to have a point of view or a sense of purpose far beyond an actor’s desire to perform a part, whether it suits them or not. It needs to radiate an idea that will make us want to sit up and pay attention. To feel its need to exist. And on one particular day in March, I was blessed with the opportunity to see not just one grande revival, but two. One was a detailed pulled-apart revolutionary revival of Henrik Ibsen’s A Doll’s House that astounded. The other, unfortunately, was a clumsy revival of Tennessee Williams’ Cat on a Hot Tin Roof that fell lazily from that high-wired peak – not for a lack of trying, but from a formulation that never found its purpose.
Relevantly Tuneless Fairytale Bad Cinderella Isn’t Bad, It’s Forgettable
You are seriously asking for it, when you make the title for your musical Bad Cinderella, however the show is not bad, it’s just seriously lacking. For an Andrew Lloyd Webber musical, which is normally rich in melody, the only song that has any kind of hold is “Only You, Lonely You” sung by Prince Sebastian (Jordan Dobson or in my performance the wonderful Julio Ray). The lyrics by David Zippel and book by Emerald Fennell, adapted by Alexis Scheer are inane. It doesn’t help that the cast for the most part speaks and sings with mouths full of cotton. The orchestrations sound tinny and computerized, The lead Linedy Genao has no charisma or vocals that soar musically, instead she is rather nasal, like Bernadette Peters with a cold. Why this show is two and a half hours long is beyond me.
The show is based in a town called Belleville (beautiful town en Francais), that is based solely on looks and prides itself on its superficiality. The opening number starts with “Beauty Is Our Duty,” the Queen (a fabulous Grace McLean) is into her hunks including her missing son Charming (Cameron Loyal).
And the fairy godmother (Christina Acosta Robinson) is a plastic surgeon who sings “Beauty Has a Price”. In a day and age, where we are suppose to see past all that, this show is politically incorrect.
Cinderella a Gothic, and a graffiti artist, naturally does not fit into the town’s mold of beauty, which is how she earns her nickname. Her rebel move happens when she defaces a memorial statue of Sebastian’s older brother, Prince Charming. Sebastian is more of a geek, and he and Cinderella are in the “friend zone,” since both lack communication skills in admitting their love.
Sebastian is being forced by his mother, the Queen to find a wife at a ball and invites Cinderella. Cinderella’s stepmother (the always remarkable Carolee Carmello) blackmails the Queen to get one of her daughters Adele (Sami Gayle) or Marie (Morgan Higgins) the gig.
McLean and Carmello are the bright spots in the show and if the show had been about these two, maybe we would actually have a show that could work. These two steal the show.
Cinderella has not one, but two what should have been show stopping numbers “I Know I Have A Heart (Because You Broke It)” and “Far Too Late,” but she does not have the vocals, the character development or the star power to carry them off.
The set and the revenge porn costumes by Gabriela Tylesova, are just over the top, with the storybook set faring much better than the over complicated flowered pastels that waltzed across the stage.
The direction by Laurence Connor is just dull and lacks oomph.
If you like buff men and Chippendale type choreography this is the show for you.
Bad Cinderella, Imperial Theatre, 249 West 45th Street.
Did You Know There Is A Kander & Ebb Way?
On Friday, March 24th, the 96-year-old John Kander was given a Mayoral Proclamation from Mayor Eric Adams in celebration of the first performance of his new Broadway musical New York, New York. Following the proclamation, Lin-Manuel Miranda unveiled the sign renaming 44th Steet ‘Kander & Ebb Way. On hand was the Manhattan School of Music to performed the iconic Kander & Ebb song “New York, New York.”
New York, New York opens Wednesday, April 26, 2023 at Broadway’s St. James Theatre (246 West 44th Street).
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