Entertainment
What To Watch October 22nd To Take Away The Blues
1pm: Zalmen Mlotek’s Living Room Concerts: Early Yiddish Vaudeville Songs National Yiddish Theatre Folksbiene (Folksbiene)—led by Zalmen Mlotek, Artistic Director, and Dominick Balletta, Executive Director—will present original, dynamic virtual programming as part of its ongoing Folksbiene! LIVE series in September and October, starting with Magda Fishman’s “A Sweet New Year” on September 16th, Budd Mishkin in conversation with Robert Klein on September 23rd, and Zalmen Mlotek’s weekly Living Room Concerts on Thursdays.
2:30pm: First Date, Starring Samantha Barks and Simon Lipkin By Crazy CoqsLambert Jackson Productions Lambert Jackson Productions and Crazy Coqs will stream a virtual production of the 2013 Broadway musical First Date October 22–24 at 7:30 PM BST (2:30 PM ET).
The musical, which will be filmed at Crazy Coqs, will star Samantha Barks (Pretty Woman, Les Misérables, Disney’s upcoming West End Frozen) as Casey and Simon Lipkin (Avenue Q, Ghost Stories) as Aaron, with Nicholas McLean (Wicked, Cinderella) as Man #1, Oscar Conlon-Morrey (Only Fools, Horses The Musical) as Man #2, Rufus Kampa (Goodnight Mister Tom) as Young Aaron, and Danielle Steers (Sweet Charity, Bat Out Of Hell) as Woman #1. Dean Johnson directs and serves as videographer.
First Date has a book by Austin Winsberg and music and lyrics by Alan Zachary and Michael Weiner. The creative team also includes musical supervisor Adam Hoskins and musical director Josh Winstone.
In the musical, New York City singles Casey and Aaron have been set up by friends and family, but from the outset this first date seems to be doomed. With the help of a meddling but well-meaning waiter and a host of other characters along the way, the mismatched pair navigate a potential dating disaster in the hopes of finding something special before the check arrives.
4pm–9:30pm: Marie’s Crisis Virtual Piano Bar Tonight’s scheduled pianists are Alex Barylski (@Alexander-Barylski) and Adam Michael Tilford (@Adam-Tilford-1).
6pm: Classic Conversations: Timothy Douglas By Classic Stage Company continues its free, online version of their discussion series Classic Conversations, hosted by Artistic Director John Doyle. Douglas was Frankenstein at CSC.
6pm: Here We Are Theatre for One Every Thursday starting today, Christine Jones’ company will offer one-on-one performances of “micro-plays” by the following eight playwrights: Jaclyn Backhaus, Lydia R. Diamond, Lynn Nottage, Stacey Rose, Nikkole Salter, DeLanna Studi, Regina Taylor, and Carmelita Tropicana. Each audience member signs up for a specific date and time and then gets to see at least one play, performed live! You need to sign up here in advance and to learn details.
6:30pm: Borrowed is a new psychosexual drama written by playwright and television writer Jim Kierstead.
Join us for a virtual reading of Borrowed on Thursday, October 22 at 6:30 p.m. followed by a post-show conversation with Kierstead, director Conor Bagley, and actors Rene Lavan and Tim Creavin with special guest Bob Knotts, founder and president of The Humanity Project, moderated by North Star Projects Founder and Producing Artistic Director Adriana Gaviria at 8:15 p.m. A portion of the proceeds will go to Humanity Project programs.
In Collaboration With:
3FEO Entertainment
Broadway Virtual
The Humanity Project
7pm: The Tempest Radio Play By Shakespeare@ A host of actors from both sides of the Atlantic will be heard in a radio play production of Shakespeare’s The Tempest, produced by Jersey City’s Shakespeare@.
The Tempest will air in four weekly parts; the first episode will be available beginning October 1 at 7 PM ET free of charge at Shakespeare-at.org and will subsequently be available on Spotify, Apple Podcasts, Soundcloud, and Stitcher. The remaining episodes will debut October 8, 15, and 22.
Adapted and directed by Artistic Director Sean Hagerty, the cast includes RSC and National Theatre veteran David Hargreaves as Prospero, Maria-Christina Oliveras as Ariel, Jamie Ballard as Stephano, Thomas Aldridge as Trinculo, Jonathan Forbes as Caliban, Derek Wilson as Ferdinand, Aria Shahghasemi as Sebastian, Andrew Sellon as Gonzalo, and Keith Hamilton Cobb as Antonio, with Mark Torres, Alice Marks, Freddie Lee Bennett, Rin Allen, and Zoe Himmel.
The Tempest also features original music by Joan Melton with sound design by Dan Gerhard and Ellen Fitton of Sonic Designs. Justin Goldner is the music producer and supervisor with casting by Robin Carus. Sydney Steele is the associate producer.
7pm: Flavors of Magic By The Tank The Tank and the Society of Magicians present Divinely Diverse Deceptions! An international cast of magicians will perform a new show every other Thursday, bringing you into their home studios for grand illusions, minor miracles, and feats that defy the laws of nature. Some of the magic will even happen in your hands at home! There is something for everyone in Flavors of Magic- featuring all kinds of magicians doing all kinds of magic.
7pm: Color Between the Lines: Good Trouble Irondale. An original work devised by the Irondale ensemble in 2012 and developed as part of the borough’s first public history project to explore the abolitionist movement in Brooklyn, will be presented as a 4-part virtual encore performance filmed live from the 2012 original production of Color Between the Lines with Color Between the Lines: Good Trouble, October 8, 15, 22 and 29 at 7:00 p.m.Each night will feature a segment of the play followed by a conversation moderated by cast member and co-creator of the show, Damen Scranton. Special guests include other Irondale Ensemble members, Attorney General Letitia James and President & CEO of the Brooklyn Historical Society Deborah Schwartz.Color Between the Lines takes a deep dive through the people and places that shaped the borough of Brooklyn through song, and recognizes the history of the community, its struggles, its victories and its evolution to the borough we know today. Developed from source material that outlined research of names, dates, places, maps and milestones from the abolitionist era, the ensemble pieced together the story line of this important time in history through improv exercises that turned into song, yielding a full-length evening of riveting theater.
7pm: Skeleton Crew Atlantic A reading by most of the original cast of this play by Dominique Morisseau, the compelling final play in her Detroit trilogy, which focuses on the struggles of a group of Detroit auto workers at a plant that is in danger of shutting down.“Know what’s left…?” one of the characters says. “The soul…I’m running on soul now.” Directed by Ruben Santiago-Hudson, the production features original cast members Jason Dirden, Wendell B. Franklin, Nikiya Mathis, and Adesola Osakulumi, along with new cast member Caroline Clay.
7pm: Quarantine Cabaret and Cocktails produced and hosted by entertainer and LML Music founder, Lee Lessack, and actor and frequent SNL regular, Robert Bannon. The duo hosts a star-studded group of performers every week with laughs, music, and stories.
7:30pm: Fish out of Agua Lifestage, Inc. The latest in the weekly solo series, Totally True Things: A Socially Conscious Storytelling Show, Michele Carlo tells the story of her growing up as a redheaded freckle-faced Puerto Rican raised in an Italian/Irish section of The Bronx, living through playground battlefields, graffiti-filled afternoons and high school race riots.
7:30pm: Rossini’s La Cenerentola A timeless tale told in a florid bel canto style, Rossini’s take on the Cinderella story offers an ideal propellant for a virtuosic mezzo-soprano to rocket from rags to riches. But in this retelling, the supporting characters soar just as high: Cinderella’s Prince, her stepfather, and the Prince’s valet are given memorable arias, and the composer rounds out his score with ingenious ensemble flourishes. A vivacious masterpiece, La Cenerentola brings stock fairy tale characters to dazzling life.
8pm: Stage Door Sessions: Mean Girls By Playbill Broadway Roulette celebrate Mean Girls and meet three of the artists who helped the musical thrive on Broadway and on tour. Ask questions, interact with other fans, and learn new things about this show that changed Broadway forever. It’s kind of like getting your Playbill signed… without leaving the house!
Hosted by Broadway Roulette’s Elizabeth Durand Streisand.
8:30pm: Spring Awakening Capitol City Theater Company is proud to present its latest production Spring Awakening with both streaming an in-person options.
The winner of eight Tony Awards, including Best Musical, Spring Awakening explores the journey from adolescence to adulthood.
All live performances take place at the Capitol City Theater Companies Studio Located at 1742 N 48th Street in Lincoln, Nebraska, and streamed Nationwide through a partnership with Music Theater International.
8:30pm: Vineyard Theatre: Lessons in Survival Each week, a group of actors and director Tyler Thomas will explore material not seen in other episodes, working on it and talking candidly about the content and the process.
Interviews: Miles Davis (1988), Muhammed Ali/Nikki Giovanni (1971), Joan Baez (1984), Pete Seeger (2006)
Featuring: Crystal Dickinson, Peter Gerety, Jennifer Ikeda, Peter Mark Kendall, TL Thompson, Nicole Villamil, and others
G.H. Harding
SLY REVIVED — (via Rolling Stone) Sly Stone, the enigmatic R&B/funk icon, will share his story in a new memoir, Thank You (Falettinme Be Mice Elf Agin), arriving Oct. 17 via Questlove’s new publishing imprint, AUWA Books.
Stone co-wrote the new book with Ben Greeman, who’s written memoirs with George Clinton, Brian Wilson, and Questlove (he helped the Roots drummer with his three other books, too). Questlove — who’s directing a documentary about Stone — will also pen a foreword for Thank You (Falettinme Be Mice Elf Agin).
In a statement, Stone said, “For as long as I can remember folks have been asking me to tell my story. I wasn’t ready. I had to be in a new frame of mind to become Sylvester Stewart again to tell the true story of Sly Stone. It’s been a wild ride and hopefully my fans enjoy it too.”
Born Sylvester Stewart, Stone’s music career began when he was a child, singing in a gospel quartet with his siblings. In the Sixties, he worked as a radio DJ in the Bay Area, forming various soul groups, including the extremely successful Sly and the Family Stone. The group’s debut,A Whole new Thing, arrived in 1967, and that same year they released their first major hit, “Dance to the Music,” which anchored the band’s second album. Between 1967 and and 1982, Sly and the Family Stone released 10 albums, including classics like Stand! and There’s a Riot Goin; On.
But after the dissolution of the Family Stone, Stone struggled to find success as a solo artist while simultaneously battling drug addiction. Though he got sober, he receded from public life, making only sporadic appearances, like the band’s induction into the Rock and Roll Hall of Fame and a performance at the 2006 Grammys. In 2011, Stone released a new solo album, I’m Back! Family and Friends; in 2016, he received a Lifetime Achievement Award from the Grammys.
Thank You (Falettinme Be Mice Elf Agin) is one of several books on the initial slate for Questlove’s new AUWA Books venture. (The Farrar, Straus and Giroux imprint takes its name, by the way, from the bird-call noise Prince used on songs like “Baby I’m a Star” and “Eye No.”) Also on the docket: Questlove’s new book, Hip-Hop Is History, and a book from TikTok star Drew Afualo (both out in 2024).
This is major news for sure. If you’re of a certain age, Sly Stone’s music was the best. The true of story of what actually happened should be cataclysmic. The stories I’ve heard over the years encompass almost everything good and bad about the music industry. I hope the curtain is finally pulled back in this instance.
Neil Young
TICKET TO YOUNG — (Via Ultimate Classic Rock) Count Neil Young among those musicians who blame escalating ticket prices for ruining the concert industry. “It’s over. The old days are gone,” Young declared in a message posted to his Neil Young Archives website. “I get letters blaming me for $3,000.00 tickets for a benefit I am doing. That money does not go to me or the benefit. Artists have to worry about ripped off fans blaming them for Ticketmaster add-ons and scalpers.”
The acclaimed rocker’s message was accompanied by a story about the Cure and their recent battle with Ticketmaster. The ticketing giant earned the scorn of the goth rock band and their fans by adding several fees to ticket prices for the Cure’s upcoming North American tour. In some cases, these “unduly high” fees, as Robert Smith called them, resulted in the actual price of tickets nearly doubling from their face value. Ticketmaster eventually agreed to refund some of the cost.
“Concert tours are no longer fun,” Young opined, pointing to ticket fees and scalpers as the culprit. “Concert tours not what they were.”
Young’s thoughts about ticket prices are the latest in his ongoing list of gripes regarding modern touring. In December, the rocker reiterated his refusal to play at concert venues that use factory farms.
John Wick: Chapter 4
SHORT TAKES — Could Big Blue be coming back? Blockbuster for decades was the go-to spot for DVDs and video-tapes. Stay tuned …I love Keanu Reeves, but I must admit I’ve not seen any of the John Wick movies. Chapter 4 opened this past weekend with a $74 million+ score. Rather amazing in this post-covid period.
I pulled up the trailer and was terrifically impressed by the lush visuals; beautiful music and Reeves and Lance Reddick just sensational. I am thinking of a John Wick-weekend where I’ll watch all 4 … Writer/producer Terry Jastrow arrives in NY this week with his wife actress Anne Archer … Whatever happened to the Madonna biopic? You ask three different people and you get three different answers,. Check this one out from IndieWire: https://www.indiewire.com/2023/03/julia-garner-madonna-biopic-fingers-crossed-1234819696/ …
Julia Garner
Personally, I don’t think Garner should do it. Mired in controversy already, could it really be any good? … GUESS WHO DON”T SUE: What up-and-coming metal band is using the name of a high-profile manager to score some Manhattan-gigs? They were going to work with the manager until it blew up. Simply shady if you ask me … btw: whatever happened to Wendy Stuart Kaplan? …
Shrinking
Friday was the last episode (for their inaugural season) of Apple TV+’s Shrinking which has just been so excellent in this its debut season. Jason Segal and Brett Goldstein have come up with the best show on streaming yet. Infectiously good and the acting turns from Segal and Harrison Ford are off the charts. The show culminated in a wedding for best-friend Brian (Michael Urie) and ended with a call-back to the show’s very first scene. Remember it? Truly a one-of-a-kind show. We loved it … I’ve heard at least 4 stories on the news this weekend about composting. Is this a hot topic now? Trending is it? … RIP Nicholas Lloyd Webber
NAMES IN THE NEWS –— Alex Salzman; Rob Petrie; Anthony Pomes; Terry Jastrow; Tyrone Biljan; Jacqueline Boyd; Bill McCuddy; Brad LeBeau; Nile Rodgers; Nancy Hunt; Steve Leeds; Terri Epstein; Brenda K. Starr; Tom & Lisa Cuddy; William Schill; Robert Funaro; Vinny Pastore; Maureen Van Zandt; Tricia Daniels; and ZIGGY!
Broadway
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.
But over at Broadway’s Hudson Theatre, a reformulation chirps most wisely and wonderfully, bringing depth and focus to a classic Henrik Ibsen (Hedda Gabler) play that I didn’t realize was in such need of an adaptation. With no extravagance at its core, Amy Herzog (Mary Jane) dynamically takes the detailed structure and beautifully adapted it with due purpose. It hypnotizes, dragging in a number of light wooden chairs, Scandinavian in style, I believe, onto the stage, one by one, by their black-clad counterparts in a determined effort to unpack what will unfold. There is no artifice to hide behind in this rendering, as designed most impeccably by scenic and co-costume designer Soutra Gilmour (NT’s My Brilliant Friend; Broadway’s & Juliet) and co-costume designer Enver Chakartash (Broadway’s Is This A Room), only A Doll’s House’s celebrated star, Jessica Chastain (Broadway’s The Heiress; “The Eyes of Tammy Faye“) rotating the expanse of the bare stage before the others join her slowly and deliberately. She sits, arms crossed, staring, daring us to look away, while knowing full well we won’t. Or can’t. And without a word, it feels like she has us exactly where she wants us. Needs us to be. And all that transpires before the play even begins.
They sit on that bare and stark stage, waiting, in a way, to be played with, like dolls patiently wanting some children to come and give them a voice through their imagination. As Nora, Chastain delivers forward a performance that is unparalleled. To witness what transpires across her face during the course of this extra fine adaptation is to engage in a dance so delicately embroidered that we can’t help but be moved and transported. She barely moves from her chair, as others, like the equally wonderful Arian Moayed (Broadway’s The Humans) as Torvald, are rotated in to sit beside her, conversing and delivering magnified lines, thanks to the brilliant work of sound designers Ben & Max Ringham (West End’s Prima Facie), that dig deep into the underbelly of the complicated interactions. This pair of actors find a pathway through the darkness, never letting us come to any conclusions until they are ready to unleash a moment that will leave you breathless. This is particularly true for Moayed’s Torvald, who seems decent enough at the beginning, but once the shift occurs, when the beautiful thing doesn’t happen as it should, his unveiling is as gut-wrenching to us as it is to Nora. Even though we knew it was coming long before the play even began to spin forward.
The art of the unfolding is steeped within the whole, refocused inside the brilliant shading, shadowing, and starkness of the cast. As Krogstad, the powerful Okieriete Onaodowan (Broadway’s Hamilton), alongside the deliciously tight Jesmille Darbouze (Broadway’s Kiss Me, Kate) as Kristine, find an engagement that sits perfectly in the structuring. They push the reforming to the edge, approaching and receding away from Chastain’s brilliant centering helping move the piece towards the required conclusion.
The same can be said of the wonderful Tasha Lawrence (LCT’s Pipeline) as Anne-Marie, and the exquisitely emotional turning of Michael Patrick Thornton (Broadway’s Macbeth) as Dr. Rank. Thornton, in particular, finds a telling and emotional space to connect, unearthing an engagement that breaks the circle apart, leaving Chastain’s Nora and all of us observers shattered and broken in its black X’d finality.
As directed with the same magnificently detailed energy and flat-walled framework as the previously seen Betrayal on Broadway and the West End, Jamie Lloyd gives us A Doll’s House that will never be forgotten. The focus is so deliberate, and the formulations are just so strong, pushed forward in black and white by the exacting lighting design of Jon Clark (West End/Broadway’s The Lehman Trilogy). Forced while remaining ever so intimate, the cascading of the statement delivered registers in a precise way, more exacting than I ever remembered, and I’ve seen numerous renditions of this epic play. And even though, from what I hear, many on the left couldn’t see the epic exit of Nora, a moment that typically registers throughout theatre history, the symbol of a woman, steadfast and true, leaving the safe and simple artifice of A Doll’s House for engagement in the hard cruel reality of the world outside is as clear as can be. The delicacies of this birdie trapped inside a cage, poisoned with lies and excuses, and beautifully brought forth by Chastain, registers the reasonings for this revival to exist. It has found a new and deliberate place to sing, and for that, I am truly grateful.
I wish I could say the same about Ruth Stage‘s modern take on the Tennessee Williams (A Streetcar Named Desire) classic, Cat on a Hot Tin Roof, currently being re-delivered at the Theatre at St. Clements. As directed by Joe Rosario (Hemingway and Me; Ruth Stages’ The Exhibition), the play doesn’t find its rationale for existing in the modern day beyond the simplistic sexualization of its boxing-ring corners. Matt de Rogatis (Austin Pendleton’s Wars of the Roses) as the tense athletic Brick stays broken and damaged in his corner, riding out the moment, waiting for the click, while in the other corner is the tense Maggie, played without hesitation by Courtney Henggeler (Netflix’s “Cobra Kai“) poised and ready for the bell to ring.
The battle is only heightened by the presence of two other fighters in the opposing corners, Big Daddy, played with determination by Frederick Weller (Broadway’s To Kill a Mockingbird) in the third, and Big Mama, played with a strong intent by Alison Fraser (Gingold Theatrical’s Heartbreak House), in the fourth. And watching and cheering for their own personal perspective wins are the obnoxious Mae, typically portrayed by Christine Copley (although I believe I saw an understudy), the weasely Gooper, played by Adam Dodway (Theatre Row’s Small Craft Warnings), Rev. Tooker portrayed by Milton Elliott (Ruth Stage’s Hamlet), and Doc Baugh, typically played by Jim Kempner (“The Girlfriend Experience“) (although, once again, I believe I saw an understudy).
Generally, this is a battle that rages deceptively strong and subtle for the length of the play, swimming cruelly in the hazy heat of its Southern charm. But somewhere in this modernization, the reasonings never get fully realized, leaving the cast to wander in their stereotypical delivery without a sharp focal point in the horizon to zero in on. Hidden behind the bar and the drink, de Rogatis finds a Brick to be engaged with. He’s definitely handsome and desirable, especially in the eyes of the far-too-straightforward Henggeler’s Maggie the Cat, and his occupation of drinking rings more true than most. I’m not sure if the modernization has been created to fit his chest-baring delivery of a broken Brick, but I will say that his artful approach to the part is one of the stronger components of this otherwise clunky reimagining.
Given so much to unpack, Henggeler runs a little too fast and furious, not weaving a pause into her thoughts and actions. It’s all forward flowing, ignoring the laws of silence and deliberation. Big Mama and Big Daddy, ignoring the fact that they don’t seem to fit in with their surroundings or the set-up, find their way into the same cage as the two central figure fighters, giving us something else to contemplate in their constructs, beyond their tight fitting jeans and dress. There’s not much of a father/son connection, nor does their familial energy register, even as it moves and twitches within the pauses well. The details of attachment are lost, as they talk around things, with everyone else playing at high volume, courtesy of a sound design by Tomás Correa (Hudson Street’s Adam & Eve), delivering the Southern drawl with the intensity of an SNL skit. That’s a problem to the whole and one that doesn’t work for this rendering.
Most of the cast is all hock and no spit, moving around the room with a strange case of physicalized mendacity while never really finding a reason for their existence. The artifice gets in the way of the movement, especially in Matthew Imhoff’s (off-Broadway’s soot and spit) busy and overly clumsy set, with some distracting fading in and out by lighting designer Christian Specht’s (SSTI’s Cabaret). The storm approaching is as false as the formula and the reasoning for this retelling. It showcases some basically good actors embracing the chance to play iconic Big roles that I’m sure they have always wanted to dig their Southern-accented chomps into, possibly because one or two of them might never otherwise get the chance as they don’t exactly fit the literal sashaying of the “fat old” bodies out and around the staging of this play. The idea breeds curiosity, but one that doesn’t save this Cat on a Hot Tin Roof from falling quick and hard from its perch, I’m sad to say. While the birdie in A Doll’s House flies strong out into the cool Broadway air, with solid reasoning on its stark wings, reminding us all what makes for a worthy reimagining of a classic.
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.
Grace McLean and the hunks Photo by Matthew Murphy and Evan Zimmerman
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).
Christina Acosta Robinson Photo by Matthew Murphy and Evan Zimmerman)
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.
Linedy Genao Photo by Matthew Murphy and Evan Zimmerman
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.
Carolee Carmello Photo by Matthew Murphy and Evan Zimmerman
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.
Grace McLean, Carolee Carmello Photo by Matthew Murphy and Evan Zimmerman)
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.
Linedy Genao, Jordan Dobson, Photo by Matthew Murphy and Evan Zimmerman
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.
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