The choreography is mainly modern aerobics until the Ball at the Palace when everyone switches to traditional waltzes. The acting ranges from realistic to cartoonish with both the hero and the heroine on a journey to find themselves. The bouncy music is best in its quieter ballads and includes individual songs reminiscent of ones in Rodgers and Hammerstein’s Cinderella, Leonard Bernstein’s On the Town and Bock and Harnick’s Fiorello!. Jordan Dobson as Prince Sebastian and Grace McLean as the Queen with male ensemble in a scene from Andrew Lloyd Webber’s “Bad Cinderella” at the Imperial Theatre (Photo credit: Matthew Murphy and Evan Zimmerman) The show can’t decide if it is taking place now – with its references to rock band Guns N’ Roses (parodied in the song “Buns ‘n’ Roses”), its use of both diversity and inclusion, a female Vicar, its erotic baker, reference to a “spare” prince, and its shirtless muscle hunks seen in the palace gym – or the Middle Ages. Laurence Connor (who also directed the earlier London production) has given the show no particular style and each scene seems to be in a different genre. The book of Bad Cinderella plays like a series of unfunny Saturday Night Live sketches. The lyrics are by David Zippel who previously collaborated with Webber on The Woman in White, from the novel by Wilkie Collins. Bad Cinderella is an updated, revised version of the beloved story written by two female authors who have so far specialized in unconventional young women: Emerald Fennell who won the Oscar for her screenplay to Promising Young Woman, with book adaptation for American audiences by Alexis Scheer, author of the play Our Dear Dead Drug Lord. Eliot, but he has never attempted a fairy tale till now. Andrew Lloyd Webber’s musicals have dramatized the Old and New Testaments of the Bible, two 19 th century potboilers, a 20 th century love story, two Hollywood movies, mid-20 th century history and poems by Nobel Prize winner T.S.
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