Andrew Lloyd Webber’s “Bad Cinderella” aims to rebrand the fairytale, yet it couldn’t be more conventional, ill-serving its title character. Still, thanks for the dancing hunks.
show. And the show , despite all its Lloyd Webber melodies and familiar setups that hark to so many of his previous musicals, feels like an old-school pantomime; its comedy and villains and mugging to the audience are straight from that venerable British Christmas theatrical tradition. It wants to be both archly contemporary and fairytale-fantastical, and tumbles bizarrely into the abyss between both.
There is some fun to be had in the show. Carolee Carmello as the evil Stepmother brews her malevolence with acid relish, and oddly—as cruel as she is to Cinderella—at least makes us understand why she is so evil. “Why be enemies when you’re so completely expert at sabotaging yourself!” her stepmother tells Cinderella, and vile as she is, she ain’t wrong.The only thing I ever learned from you, dear Stepmother, is how to be a completely heartless bitch.
Alongside the plodding “June/”moon” rhyming lyrics of the songs, the storytelling in the show is strewn with holes and contradictions. The beauty-isn’t-everything message is not the center of the show. It sort of drifts around the narrative, and is then lost. The reclamation of the necklace is another dead-end, as are the famous glass slippers of the story, which are important, then not that important.
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