By Mike Hoban
‘Rodgers & Hammerstein’s Cinderella’ – Music by Richard Rodgers; Lyrics by Oscar Hammerstein II; New Book by Douglas Carter Beane; Original book by Oscar Hammerstein II; Directed by Gina Rattan; Choreography by Lee Wilkins; Scenic Design by Anna Louizos; Costume Design by William Ivey Long; Lighting Design by Kenneth Posner; Sound Design by Nevin Steinberg. Presented by Ambassador Theatre Group at Emerson Colonial Theatre, 106 Boylston St., Boston, through Dec. 30.
If you’re thinking of not taking your kids to see Cinderella because it sends the wrong message to girls (and boys) – think again. You obviously haven’t seen the new and improved Broadway touring version now playing at the Emerson Colonial Theatre, which takes the story and turns it on its head while still delivering the wonderful songs in their original form. Disney – and productions of fairy tales in general – have rightfully been taken to task in recent years for reinforcing the “princess culture” that disempowers girls by creating role models that reinforce the wrong-headed notion that girls are less capable than boys in a range of skill sets – especially leadership.
But in this revised version of the classic, Prince Charming (renamed Topher, short for Christopher), is the one full of self-doubt. Sure, he can slay dragons and ogres with the best of them, but something’s missing. He’s kind of like the star high school quarterback who’d just as soon be in the drama club or on the debate team. Cinderella, meanwhile, is her usual otherworldly good self, turning the other cheek as she suffers the slings and arrows of the outrageously awful treatment doled out by her mother and (temporarily) rotten stepsisters. There’s also a new character, Jean Michel, a kind of nerdy male version of Alexandria Ocasio-Cortez, a social justice warrior who’s also head over heels with the more redeemable of the sisters, Gabrielle.
Jean Michel is a soup kitchen volunteer and political organizer who just wants the Prince to listen to the people. The kingdom’s subjects are – unbeknownst to the Prince – being oppressed by the bad policies of Sebastian, his evil right-hand man who has been running the country since the deaths of the kindly King and Queen while the Prince was away at school. Sebastian is portrayed by Christopher Swan as a cross between Dick Cheney and Paul Lynde – after all, this is a show that has been re-branded as a socially conscious romantic comedy – and the production works well on both counts. Desperate to hold onto his power, Sebastian cooks up a plot with Cinderella’s stepmother to have the Prince select the people-pleasing Gabrielle as his bride, through a rigged speed-dating dance process that will benefit both parties.
As we all know, that plot is foiled by Cinderella and her fairy godmother (disguised as “crazy woman” Marie), who works her magic on Cinderella, which in turn allows Cinderella to charm the pants off the Prince. When she arrives at the ball, he is stunned by her beauty and presence, but it is her kindness and compassion she exhibits during a bizarre and marginally entertaining insult contest that ultimately wins the Prince’s heart. Not only does he eventually win her hand in marriage, but he brings back democracy to the kingdom as well (remember, this is a fairy tale). Despite all of the plot changes, the score remains intact and is integrated fairly well into librettist Douglas Carter Beane’s new book.
The cast is first-rate, even if they’re not quite as spectacular as the performers of the 1957 and 1965 TV productions (with Julie Andrews and Lesley Ann Warren in the title roles, respectively). Kaitlyn Mayse radiates the requisite virtuousness of Cinderella paired with her girl-next-door good looks, and Lukas James Miller brings a kind of goofy vulnerability to the Prince, and the pair shine in their duets (“Ten Minutes Ago,” and “Do I Love You Because You’re Beautiful?”). Zina Ellis is terrific as the fairy godmother (especially during the “Impossible” duet with Mayse), and Joanna Johnson as Charlotte, the nastier of the two stepsisters, is a comic force throughout. There are some truly outstanding ensemble numbers as well, particularly “The Prince Is Giving a Ball” and the reprise of “Ten Minutes Ago”.
I believe there has been some tweaking done since the last time this version of Cinderella came through town, with the hammering of the one percent toned down and the comedy amplified, so the only folks likely to be offended by the new script are the same ones who think Scrooge and Mr. Potter are being unfairly demonized this holiday season. Overall, this Cinderella is a joy, and a worthy upgrade to the Rodgers and Hammerstein original. For tickets and information, go to: www.emersoncolonialtheatre.com
