(L-R) Angel Lin (Charlotte), Dee Hoty (Madame), Ashley Blanchet (Ella), and Rose Hemingway (Gabrielle)- photo by Jerry Dalia
It
won’t matter very much to most audience members attending the Paper Mill
Playhouse sumptuous production of “Rogers and Hammerstein’s “Cinderella” that I
much preferred the one they presented in 2005 with its book (based on the fairy
tale, of course) adapted for the stage by Tom Briggs from the original 1957 Teleplay
by Robert L. Friedman.
The
current staging is understandably using the newer book written for the 2013
Broadway version by Douglas Carter Beane in which the story has been given a
politicized edge. In it, Cinderella makes Prince Topher aware of the injustice
in the kingdom. A new character is Jean-Michel, an activist for social changes
in a kingdom that oppresses the poor and takes their homes away.
Joining
him in his mission to overthrow the corrupt government is Gabrielle, one of Cinderella
step sisters. Meanwhile the handsome prince, who is somewhat of an ill-informed
doofus, has little on his agenda except finding a pretty girl to marry. The new
book has not worn well, but the grand score lingers on.
On
the plus side is the lovely performance by Ashley Blanchet in the title role. Under
the assured direction of Mark S. Hoebee, Blanchet sings the gorgeous melodies
with a confidence that is also reflected in her acting as Ella the unloved step-daughter.
She is contrasted perfectly against the more accommodatingly abrasive
personalities of her two step-sisters Gabrielle (Rose Hemmingway) and Charlotte
(Angel Lin). Dee Hoty is terrific as “Ella’s” bitter and self-centered step
mother. Blanchet is so winning that it is easy to see how Prince Topher (well
sung and acted by Billy Harrigan Tighe) falls for her at first sight.
The
show only falters when Jean Michel invades a scene with a slew of cringe-worthy
one-liners and amateurish posturing. Evidently encouraged to be as objectionable
as possible, Andrew Kober is relegated to shouting his lines. One wishes that he either go away quickly or
at least get turned into a pumpkin by the nearest wish-fulfiller.
That
would be Donna English who is enchanting as Marie the beggar woman who makes
the magical transition into Cinderella’s glittery gowned Fairy Godmother. She
also almost stops the show with her glorious rendition of “There’s Music in
You.”
Not
sure why the intended humor fall so flat but the sweet sounds of the music come
back often enough to save the day. The score may not be top drawer R & H,
but you will find it hard to not swoon listening to “In My Own Little Corner,” and “Do
I Love You Because You’re Beautiful,” among the other lilting melodies that fill
the show. They include the best-known songs from the original version and
features four songs from the Rodgers and Hammerstein catalogue, including
"Now is the Time", cut from “South
Pacific.”
The
settings by Anna Louizos are pretty as a picture book and the costumes by
William Ivey Long remain stunningly award-worthy. All is enhanced by the sparkling
lighting designed by Charlie Morrison. The choreography by Joann M. Hunter is
unnecessarily campy and sadly compromises the otherwise fine male dancers.
Michael
Wayne Wordly, as the tongue-in-cheeky Lord Pinkleton and Christopher Sieber as Sebastian,
the kingdom’s devious prime minister contribute to the broad comedic strokes
that too often punctuate but do not necessarily enhance (as in the song title) “A
Lovely Night.”
Through
December 29 at Paper Mill Playhouse, Millburn, New Jersey. Wed & Fri at
7pm; Thurs, Sat & Sun at 1:30 and 7pm, with some variances during the
holiday weeks. For info and tickets: 973-376-4343
or at www.papermill.org
