Review on “Rodgers and Hammerstein’s Cinderella”
Richard Rodgers and Oscar Hammerstein, a dynamic duo in the musical theatre department, are the creators of many award-winning Broadway shows including “The King and I”, “South Pacific”, “The Sound of Music”, and “Carousel.” Rodgers & Hammerstein’s Cinderella started in 1957 as a musical television series and debuted on Broadway for the first time on January 25th, 2013. I went to see the show on September 26, 2013 and even though I disliked the beginning for its childish acting, its many strengths such as its music, cast, costumes, lessons, and brilliant revisions overpower the first five minutes.
“Rodgers and Hammerstein’s Cinderella” takes place in the Rodgers and Hammerstein Theatre on 53rd and Broadway. Walking in, you see the doors to a beautiful theatre and golden staircases leading up to the balcony seats. The theatre is nearly packed to capacity with people of all ages. Children, teenagers, adults, and the elderly all gather for this one show. The stage is perfectly centered, so everyone can clearly see the action. The stage makes you feel as if you are the townspeople in the show, watching the life of a young girl transform. The audience chirps and converses about the beautiful set, but as soon as the lights dim, silence, along with anticipation, is among us.
Cinderella, played by the beautiful and talented Laura Osnes, is exactly as lovely as I imagined her to be, both inside and out. She walks with an unwavering aura of hope and compassion that is automatically sensed by the audience. Prince Topher, played by Santino Fontana, definitely holds the physical capabilities of a prince, being a dragon slayer and all, but is oddly depicted as an oblivious clown.
In the first five minutes of the show, frankly, I can only think about how childish the acting is and how choreographed the “war” is. I am almost disappointed I spent money on this show. My expectations drop lower and lower. After the prologue ends however, the music and singing hit full blast, virtually blowing me away. When Ella sings her first song, “In My Own Little Corner,” her voice moves me, sending shivers throughout my body. She has a gentle, soft, and hopeful voice that resonates with me. During the show, I unconsciously shiver numerous times, not just from Ella, but from all the characters. Rodgers and Hammerstein succeed not only in creating this stunning musical with an incredibly talented cast, but also in incorporating little hints of wit. Fifteen minutes into the show, I find myself laughing uncontrollably along with the hundreds of other people in the audience. The contemporary style of the show makes it very relatable to the audience, people of all ages, and always steals a laugh out of me. What is noteworthy about this show is the balance between traditional and modern. Although the language is very contemporary, the imagery sticks to a more conventional attire, featuring puffy ball gowns and petticoats. Rodgers and Hammerstein’s plotline twists also make the show truly enjoyable. I love how they are able to keep the heart of the story amongst new revisions. Those new changes serve as jaw-droppers throughout the performance, making me anticipate each and every upcoming scene.
The biggest revision throughout the musical occurs right before the intermission. The first half ends with the iconic scene: the clock ticks midnight and Cinderella accidentally drops her glass slipper on the staircase. My expectation is that Prince Topher will pick up the slipper, but instead, Cinderella runs back and hastily grabs her slipper back. The curtain then proceeds to close with my jaw on the floor. Later on, rather than losing her slipper, Ella hands it to Topher. She takes matters into her own hands and gives the dumbfounded prince her slipper. Instead of relying on fate or destiny, she makes a clear decision to chase her desires, which I believe is meant to send a message to the audience about self-esteem.
There are numerous lessons conveyed through the story of Cinderella. One of course is that kindness is always the way to go. Even though she lives a life surrounded by resentment, she stays true to her kind side. During the ball, as the women play the game “ridicule,” Ella decides to stay true to her own belief that kindness is always better than mockery, and compliments her stepmother. Ella also teaches us to enjoy the simple pleasures in life, to live in the moment, and to never be greedy. She chooses to treasure the moments she spends with Topher and live in those moments. Unlike the rest of the women who chase after Topher, she actually runs away from him. After the ball, she simply reverts back to her old life, keeping the memories in her heart, and expecting nothing more from the prince. Finally, what I find truly ingenious is Madame’s apology to Ella. Madame puts down her pride and apologizes for the terrible way she’s treated her. Nowadays, I believe that children do not see the importance of an apology and of forgiveness. Ella says, “I’m going to say the three words I love most, ‘I forgive you.’” She serves as the perfect role model for children, and makes them understand the significance of these trivial matters. The goal of the show is for one to be mesmerized with the possibilities in life. It displays a situation where “anything is possible” and all you need to do is believe in yourself. Not only that, but the performance brushes up on other major themes such as forgiveness and kindness. The general feeling of the show is to leave you hopeful, to almost give you a new perspective towards life.
I think Rodgers and Hammerstein definitely accomplish this incentive. By watching this musical, it reminds me to believe in myself and to treat others the way you would want to be treated. Although this is cliché, in our society, the idea of kindness can easily be lost or forgotten. The musical helps restore my faith in people and leaves me feeling optimistic and rejuvenated. I can’t help but leave the theatre with a giant smile upon my face and two thumbs up, and I’m sure many would agree.
