Rodgers and Hammerstein’s Cinderella: I Can Be Whatever I Want to Be

Okay, who remembers the version of “Cinderella” starring Brandy and Whitney Huston? Because I thought that version was amazing. Well-acted, well-sung and one I’d watch again and again. Which I did, during the last snow storm—it was on Ovation. And it was timely. Because I went to go see the show on Broadway that Friday with my parents.

And with today being Valentine’s Day, I thought today would be an excellent day to post this review.

So, impossible things (and SPOILERS!) are happening every day.



After the overture, the show starts with our protagonist, Ella (Laura Osnes), gathering mushrooms in the woods (“Prologue”). Soon, a giant comes storming through and soldiers fight it, led by Prince Topher (Santino Fontana). He’s just returned home from school to take the throne but still is questioning himself (“Me, Who am I?”). He runs into Ella, who gives him a drink. The prince is impressed by her kindness, especially after she defends her friend Crazy Marie (Victoria Clark). They part as Jean-Michel (Greg Hildreth) approaches the cottage. He’s a young revolutionary who took a wrong turn and ended up in Cinderella’s woods rather than the Parisian barricades. He wants to change the world…and court Ella’s stepsister Gabrielle (Marla Mindelle). But her stepmother, Madame (Harriet Harris), doesn’t like the match. Nor does she like Ella, for that matter.

When alone, Ella imagines different lives for herself (“In My Own Little Corner”) while the Prince tries to acclimate himself to his kingdom after being away. But the Lord Protector, Sebastian (Peter Bartlett), tries to keep him in the dark about the kingdom as Sebastian has abused his power over the years. Jean-Michel, though, is determined to talk to the Prince and rally the people. A distraction is needed and Sebastian decides on a royal wedding! Prince Topher notes he doesn’t know any girls which means it’s time for a ball! The distraction works as the people focus on the ball rather than Jean-Michel (“Now is the Time”/”The Prince is Giving a Ball”).

Even Ella dreams of going to the ball, but her hopes are dashed by her stepmother. Ella won’t be going to the ball, though Gabrielle and Charlotte (Ann Harada) will. Sebastian arrives to conspire with Madame to have Gabrielle be the one the prince picks. After throwing out Jean-Michel, Madame and her daughters go to the ball. Ella and Jean-Michel talk and he suggests—in jest/a taunt—that she should go to the ball and speak to the prince. Ella says she should and imagines the scenario (“In My Own Little Corner (Reprise)”). Crazy Marie joins in her fantasizing before revealing she is a fairy godmother. Ella doesn’t believe it at first but then asks Marie to help her go to the ball (“Impossible” into “Transformations”). A golden carriage, four white horses, a footman, a driver, a white gown and a pair of Venetian glass slippers later, Ella is on her way to the ball with instructions to leave by midnight (“It’s Possible”).

At the ball, Prince Topher is feeling awkward. Charlotte insults him (not realizing he is the prince due to a masks) and Gabrielle is just awkward. Topher removes his mask and chaos ensues as women climb over themselves to get to him. Into this, Cinderella makes her grand entrance and catches the prince’s eye. Sebastian, though, tries to keep him from her, still hoping for a match with the more pliable Gabrielle. He starts up a game called “Ridicule.” Which is what you think it is: two people have to ridicule each other and a winner is chosen. Prince Topher is not amused by the game. But Ella manages to turn it around when she complements her stepmother. Soon, everyone is spreading kindness and the Prince gets to speak to her (“Ten Minutes Ago”). Ella and the Prince dance but Sebastian and Madame try to keep them apart (“Cinderella Waltz”). They reunite right before Ella has to leave (“Ten Minutes Ago (Reprise)”), giving her time to warn the prince about the state of affairs in his kingdom as we go to intermission.

When the second act starts, Prince Topher is determined to find the mystery woman and leaves his own ball. Charlotte, left behind so the prince could use her mother’s carriage, commiserates with the other women (“Stepsister’s Lament”). Prince Topher pursues Ella through the woods (“The Pursuit”) but she gets away. Safe at home, Ella remembers her time with the prince (“He Was Tall”). Her family returns home and they bond over the ball (“When You’re Driving Through the Moonlight” and “A Lovely Night”). Charlotte and Madame retire but Gabrielle remains with her stepsister. She reveals she knows it was Cinderella who was at the ball and promises not to tell her mother or her sister. Gabrielle confides that she returns Jean-Michel’s feelings and the two bond over their shared secrets (“A Lovely Night (Reprise)”).

Meanwhile, Prince Topher is haunted by the mysterious woman (“Loneliness of Evening”) and by her words. He questions Sebastian about her claims and the Lord Protector dodges them. But Topher actually reads some of the laws Sebastian is trying to pass and is angry. He demands that Sebastian hold a banquet so he can find the mystery woman, though Sebastian doubts she will show up. The news goes out (“Announcing the Banquet”) and the kingdom prepares. But Gabrielle fakes being sick so she can spend the night with Jean-Michel at a soup kitchen and gives her dress to Ella so she can meet up with the prince. But Madame comes back…for some reason…and discovers the plan. She throws Gabrielle out of the house and tears up Ella’s dress.

Marie finds Ella despondent in the cottage and convinces her to find the courage to live her dreams (“There is Music in You”). She gives Ella a new dress and retrieves the glass slippers for her to wear. Ella heads to the palace, bringing Jean-Michel, Gabrielle and several villagers with her. They talk with the prince, who decrees that there will be elections for a prime minister in a month. He nominates Sebastian and Jean-Michel before inviting everyone inside for the banquet. Topher stays outside with Ella, singing about their love (“Do I Love You Because You’re Beautiful?”). Once again, midnight tolls and Ella has to run off—this time afraid of what Topher would think if he saw her in her rags. He begs her to stay and, remembering her shoes didn’t disappear, she leaves one behind.

All the maidens in the land report to the castle to try on the shoe, including Charlotte. When it seems hopeless, Ella and Marie show up for Ella to try on the shoe (“The Shoe Fits”). Reunited, Topher finally learns her name—except she’s decided to embrace her stepmother’s cruel nickname and make it her own: Cinderella. In the end, Jean-Michel becomes the prime minister (I think?), Gabrielle is reunited with her mother and sister, Sebastian escapes punishment and Cinderella marries her prince (“The Wedding: There is Music in You”).

Despite the musical being around for over half a century, this is the first time it’s had a Broadway staging. The original was written for a telecast starring Julie Andrews as Cinderella. This production has a few more songs, including some cut from other Rodger and Hammerstein shows. For example, “Loneliness of Evening” was cut from “South Pacific.” But the songs are well-blended into the musical that you’d never know they weren’t original to the score.

Speaking of the score, Rodgers and Hammerstein’s music has proven timeless. And Cinderella has some gorgeous music in its score. “The Prince is Giving a Ball” is an exuberant dance number. Both “Ten Minutes Ago” and “Do I Love You Because You’re Beautiful?” are beautiful love ballads. And “Impossible”/”It’s Possible” is an anthem for the ages.

Douglas Carter Beane was also brought in to work on the book. So what’s the verdict? For the most part, it’s good. Beane has added an arc for Cinderella. She’s always kind and generous. What she does lack is self-confidence. She can stand up for Crazy Marie but not herself, especially to her stepmother. Ella also doubts the prince will love her if he saw her in her rags because she doesn’t feel worthy of anything. Through the support of her godmother, stepsister and eventually the love of the Prince, Ella realizes she is worthy and gets the confidence to get what she wants. It’s nice to see and supported by little moments in the musical—the godmother keeps insisting the magic comes from Cinderella. That it’s in her to change her lot in life.

There are still some problems. Some of the new subplots are not fleshed out well enough. What exactly was Sebastian doing? Why was he taking the land from the poor people? Why wasn’t he punished? What exactly were Jean-Michel’s ideas for the land? And why did the Stepmother dislike Cinderella so? We know she married Ella’s father only for her father—she said so a few times during the course of the show. Which is one of my last complaints about the book. There were parts which contained some awkward infodumps. But once those are out of the way, the book is full of laughs and sweet moments.

I wanted to go see Cinderella before the cast changed. My mom thought it was because I didn’t think Carly Rae Jepsen would be good. But I wanted to see Laura Osnes. I’ve been a fan of hers since “Grease: You’re the One That I Want.” She was the first reality show contestant I ever voted for. I never got around to seeing “Grease” and just missed seeing her in “Anything Goes.” And I am glad I got to see her as Cinderella. She dazzles on stage. Her singing and dancing were amazing as well.

Osnes had great chemistry with leading man Fontana. He did a great job with the prince’s own insecurities and his journey into being a confident ruler. And he handles lovelorn well. I think I fell in love a little bit with his voice. Well, even more so than when I saw Frozen—even if he was the douche of the movie. And Clark was amazing as Crazy Marie AKA the Fairy Godmother. I was excited to see her—she had just returned to the company after a brief run in another show. Her voice is amazing and she’s able to play the “crazy” part while hinting that there’s more to her beggar woman. I do regret missing my chance to see Rebecca Luker for the fourth time (I’ve seen her as Maria in “Sound of Music,” Marian in “The Music Man,” and Mrs. Banks in “Mary Poppins”) but Clark was part of the original cast.

Hildreth did a great job with Jean-Michel, even if the character motivations aren’t clear from the book, and had good chemistry with Mindelle’s Gabrielle. She did a good job with the quiet, timid stepsister. And Harada was a scream as the more blunt Charlotte. Harris nearly stole the show as Madame and Bartlett was good—though all I can see is Nigel from One Life to Live whenever I see him.

The costumes in this production are gorgeous. Which is hardly a surprise as they are designed by the acclaimed William Ivey Long. All the colors are well coordinated and Cinderella’s beautiful white gown shines among them. Cinderella’s glass slippers shine in the light as well. The production has some great transformation scenes as well. Cinderella’s dress appears on her while she’s on stage. They are great feat and I would encourage people to see the show just for that.

I know the cast has changed. Joe Carroll, the new Prince Topher, has a nice singing voice from what I’ve heard. I haven’t heard much of Jepsen yet though I’m sure she’s holding her own. And I have seen Fran Drescher perform live, in a staged concert of “Camelot” at Lincoln Center starring Gabriel Byrne and Marin Mazzie. She was good but I don’t think she’s going to steal the show the same way Harris did.

But no matter who is in the cast, go see this show! The story is timeless, the music memorable and the costumes amazing.

Here’s some videos of Laura Osnes and Santino Fontana singing. First, “Ten Minutes Ago”:

Next, “Do I Love You Because You’re Beautiful?”: