Broadway’s Aladdin Is Shut Yet Again, For A Week After Additional COVID Cases Break Out
Aladdin could certainly use a geni right about now. More COVID-19 cases have been detected at The New Amsterdam Theatre. The show re-opened September 28th, shut down September 29th, re-opened September 30th and as of October 1st has shut down again.
The show posted on its website Friday evening that performances will be canceled through October 10.
Aladdin sent out this message September 30th: Through our rigorous testing protocols, breakthrough COVID-19 cases have been detected within the company of Aladdin at The New Amsterdam Theatre.
Because the wellness and safety of our guests, cast, and crew are our top priority, tonight’s performance, Wednesday, September 29th, is canceled.
All tickets for this performance will be refunded at the original point of purchase. We will communicate the status of future performances tomorrow.
We will continue to provide support to the affected Aladdin company members as they recover.
If you purchased via Ticketmaster.com, Ticketmaster via Phone/App or the Disney on Broadway Hotline: your refund is being processed, and your credit card will be refunded automatically within 30 days. For any issues, please contact Ticketmaster via My Account (http://my.ticketmaster.com/account).
If you purchased at the Box Office and have digital tickets: Submit your request via http://aladdinthemusical.com/refundexchange. You will be able to request an exchange of your tickets for an alternate date of your choice, subject to availability, or you can receive a full refund to the original method of payment.
If you purchased at the Box Office and have paper tickets: Please return them to the New Amsterdam Theater Box Office. If you are not able to visit the box office due to closure or personal schedule, you may mail physical tickets to the address below.
If you purchased tickets as part of a Group: Please contact your Group Sales Agent for more information regarding refunds or exchanges. Please retain your original tickets until you speak with the Group Sales Agent.
If you purchased tickets through any other licensed sales channel (including, but not limited to, Broadway.com, Broadway Inbound, Entertainment Benefits Group, TodayTix, TKTS, etc.): please return to the original point of purchase for more information regarding refunds or exchanges. If you have your tickets in hand, please retain them for a refund or exchange.
Maybe this is why Broadway theatres have extend the vaccination and mask requirement.
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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