![]() (And surely her appearance in “The Crown” as Camilla Parker Bowles equipped Fennell for a musical that features its own royal wedding.This crossword clue Lloyd Webber title role was discovered last seen in the Januat the NewsDay Crossword. The notably bawdy book is by Emerald Fennell, an Oscar-winner this year for her script for “Promising Young Woman,” who springs several narrative surprises along the way - an important one will be immediately clear to those who read the cast list. Here, as elsewhere, you feel the enlivening touch of a collaborative team that includes Tony-winner David Zippel (“City of Angels”) whose lyrics rhyme “nondescript” with “ripped” while also accommodating the story’s swoony romanticism. Trehearn, for her part, raises haughtiness to a high art: “I can’t lose my head,” she announces. Those supporting roles are played to comic perfection by Rebecca Trehearn and Victoria Hamilton-Barritt: A florid Hamilton-Barritt, in particular, vamps across Gabriela Tylesova’s elegantly shifting sets like an Edward Gorey figure who has had too much to drink. Sebastian gets an earworm number of his own in the emotive “Only You, Lonely You,” which ends with the same sort of money note as “Love Changes Everything,” from Lloyd Webber’s “Aspects of Love.” Elsewhere, in a second-act waltz, we clock nods toward Rodgers and Hammerstein, who wrote their own “Cinderella,” and, separately, to Edward Elgar at his most ceremonially British a showstopping duet, “I Know You,” for the Queen and the Stepmother, by contrast, has a more Gallic tinge. (That would explain the frequent emergence among the townsfolk of various muscled, bare-chested men, apparently on loan from a Chippendales revue.) The aggressive number “Bad Cinderella” early on establishes the gifted Fletcher’s clarion-voiced rebel as a troublemaker amid the manicured environs of the show’s “picturesque” French setting, where everyone is devoted to beauty and physical perfection. The score tilts heavily toward the power ballads that tumble from this composer’s pen one or two could be trimmed to the benefit of an overlong production. She finds herself in the care of a Godmother (Gloria Onitiri), who would seem to be a dab hand at plastic surgery, and within minutes Cinderella is covering her face as part of the treatment. Cinderella, a societal outcast, is a bit like the rejected Phantom in “The Phantom of the Opera,” and that show’s mask gets a visual reference toward the end of “Cinderella’s” first act, when the scraggly-haired, dowdy-looking “scullery wench” (Carrie Hope Fletcher) of the title is given a beauteous makeover. Lloyd Webber has been unusually visible of late as a newly minted activist, making headlines here throughout the pandemic to score points against the British government and demand that theaters be allowed to open this musical is on more familiar territory. ![]() The result may not be quite the theatrical equivalent of its heroine’s cut-glass slipper, but it nonetheless looks set for a sturdy West End run. “Cinderella” is a big, colorful production, painted in deliberately broad brushstrokes by the director Laurence Connor, that turns a time-honored story (somewhat) on its head. Five weeks after the show’s aborted July 14 premiere, and with numerous other dates offered and then dropped along the way, Andrew Lloyd Webber’s new musical at last opened here Wednesday at the Gillian Lynne Theater.Īnd, guess what? The long-awaited show from the 73-year-old industry veteran turns out to have been worth the wait. ![]() ![]() LONDON - “ Cinderella” finally got there, albeit well past midnight. ![]()
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