So not necessarily outright slutshaming, but it's definitely implied (and confirmed when the other guys tell Sebastian ''they got there first'' with the stepsister). Oh and I'm not sure which song it is and I can't find the lyrics back this quickly but I believe in one of the songs the Stepmother says her daughter sleeps around too much.

I know it's probably intentional, but given how many times 'Bad Cinderella' is reprised in the show it's weird that he'd use that particular song to reference another well known musical version of this story. It's not an album I'm gonna be revisiting a lot though.Īlso I originally didn't realise 'Bad Cinderella' borrowed from 'In My Own Little Corner', but I've seen others mention it and now I can't unhear it lol. However, once I realised this was just a weird and wacky version loosely based on the Cinderella story I was able to enjoy it a bit more. It's definitely not the magical show I was expecting. I really had to get past it myself to even be able to enjoy the story this show/album was telling. I really disagree with some of choices Emerald Fennell made and agree that this version of the story misses the entire original message of the original fairy tale. Like I said before I'm also not a fan of this take on the fairytale. It’s as if composer, lyricist, writer and director each tried to create their own show independently, and ended up making this Cinderella more of a poisoned apple than a glass slipper.I completely understand why you didn't like it. Whilst there will be much deserved admiration for getting the production mounted in the most difficult of times, Andrew Lloyd Webber’s Cinderella replaces magic, miracles and enchantment with misogyny, machismo and eroticism, and overall, it feels uncomfortable to watch. It’s hard to believe this is a West End debut, Turco carries the role so confidently, and his solo number, ‘Only You, Lonely You’ is nothing short of captivating. Ivano Turco as Prince Sebastian wows the audience with a gentle and nuanced performance. Rebecca Trehearn and Victoria Hamilton Barritt both relish their villainous roles as The Queen and The Stepmother respectively, while Laura Baldwin shines as stepsister Adele. Carrie Hope Fletcher delivers a powerful performance as the titular character, filled with angst and a touch of vulnerability, and her solo numbers are spectacular. Thankfully, Bruno Poet’s lighting design picks up a great deal of the slack giving The Gillian Lynne Theatre the fairytale feel that is desperately lacking elsewhere.Ĭinderella does have a strong cast. As Andrew Lloyd Webbers 44-year-long reign on Broadway has come to an endwith the closing of his newest work Bad Cinderella, and the curtain drawn on his record-breaking musical. Cinderella was an established musical with good reviews, and so I did feel mistakenly a sense of security that comes with that and, in Lloyd Webber, the backing of such a big name in the. Gabriella Tylesova’s costumes, particularly for the female leads, are extravagant and dazzling, and stand out even more so against a dull and uninspiring set.

But, too soon, the clock strikes midnight, the enchantment is over, and the production turns back in to a pumpkin. The musical began previews February 17, with an opening night set for. It’s also here that we get another of the standout musical numbers, as Carrie Hope Fletcher delivers the stunning ‘I Know I Have a Heart’. The reviews are rolling in for Bad Cinderella, Andrew Lloyd Webbers first new Broadway musical since 2015s School of Rock. Laurence Connor’s direction and the stage’s revolve both play a part in making these scenes the best of the night. It’s not just Cinderella who is transformed, as the stage takes on a whole new look thanks to some rather impressive stage wizardry.

The Ball comes at the top of the second act, and it looks like things might start to get interesting. Too often the lyrics don’t reflect the plot, which is already at odds with the music and the staging one of those often reprised, albeit enjoyable, numbers is ‘Bad Cinderella’ which gives us the line “I’ve a style all my own, and I will not change it for you”, which makes us wonder why Cinderella then goes ahead to do just that.Įnter the Godmother (Gloria Onitiri), turning up briefly to suggest Cinderella should undergo surgery to be more beautiful there’s a song about it before they decide there’s not enough time, so stick her in a pretty dress instead. I never wanted, never intended to be the sort of spokesman for the arts and theater in Britain, Lloyd Webber said in a recent interview at the Gillian Lynne Theater, where his musical.

Andrew lloyd webber cinderella