Rodgers + Hammerstein's Cinderella

Rodgers and Hammerstein, the musical theater's powerhouse collaborators, gave us some of the greatest Broadway shows from the '40s and '50s. From "Oklahoma!" to "The Sound of Music," most people know at least one or two songs from the dynamic duo whether they know it or not. However, lesser known is their one made-for-television vehicle for a young Julie Andrews called "Cinderella."

Based on the well-known fairy tale, it originally aired in 1957 and was a hit. Its popularity eventually caused a remake to be made in 1965 with Leslie Ann Warren in the title role. This version aired annually for many years and probably is the most familiar version for many. Later, in 1997, Whitney Houston produced an updated version that included songs from other Rodgers and Hammerstein shows that starred Brandy and Ms. Houston.

Never had the show appeared on Broadway. The closest it came was a New York City Opera version that premiered in 1993 and was revived twice (its last - in 2004 - featured the late Eartha Kitt as the Fairy Godmother). Finally, in 2013 a Broadway production was developed and retitled "Rodgers + Hammerstein's Cinderella."

Enter award winning playwright Douglas Carter Beane ("As Bees in Honey Drown," "The Little Dog Laughed"). Mr. Beane obviously had little faith that the 1957 sentimentality of the original would be well received in today's world. His adaptation maintains much of the Rodgers and Hammerstein score (including "In My Own Little Corner," "Impossible; It's Possible," and "Do I Love You Because You're Beautiful?"), as well as four others from the catalogue, but little else.

In Mr. Beane's version, the newly-created political intrigue is just as prominent as the romance. Cinderella is the vehicle through which political reform occurs. The King and Queen have died. Prince Topher (yes, he now has a name) is but a puppet for the evil Prime Minister who has been running the land while the Prince has been sent away to be educated.

The land is in turmoil, and a young revolutionary, Jean-Michel, is introduced as one of Cinderella's friends who also happens to be in love with one of the "evil" stepsisters, Gabrielle. Jean-Michel wants his grievances to be heard by the Prince, but does not have access. So, who should step in to deliver the message? Cinderella, of course. She is going to the ball after all, thanks to Crazy Marie (also Fairy Godmother in a less-than-surprising reveal). After experiencing life-altering magic and falling in love at first sight, who wouldn't want to discuss politics?

Sound forced? It is. Mr. Beane's lack of faith in the source material is probably the most disappointing aspect of this show. Sometimes a simple fairy tale is just a simple fairy tale. Rodgers and Hammerstein did not win thirty-four Tonys, fifteen Oscars, two Grammys, and the Pulitzer for nothing.

The production values are solid, but certainly not inspiring. The staging and choreography are average, but the set seems to have been borrowed from a regional production of "Into the Woods." The only moments of stage magic are Cinderella's three on-stage transformations, which are the highlight of the evening.

The performances are also soundly average, competent and solid, but with no star turns. Paige Faure is fine as Cinderella; she is pretty and conveys a charming innocence that never goes saccharine. However, her pop-influenced vocal style does nothing to highlight R&H's delightful music. Don't expect to experience glorious high notes at the end of songs here.

Andy Huntington Jones as Prince Topher (is it just me or is that a name straight out of LA in the 1980s?) has all the right qualities - he's handsome, charming, and a decent singer. He also manages to maintain a nostalgic boy next door air that is perfect for the role. But Mr. Jones is also not quite up the musical requirements of the score. His upper register becomes quite thin, and he suffers some intonation problems.

For the remaining cast, each seems to have a lovely solo voice - Chauncey Packer as Lord Pinkleton is especially notable. However, they cannot seem to operate as a chorus. The vocal lines become muddy from too many solo singers, and the words become indistinguishable.

And for those taking children, with two acts and a running at two hours fifteen minutes, you may find it difficult to maintain their attention.

In the end, even after all the spectacle that attempts to cover the flaws of the new book, one is left yearning for the simplicity of the original.

Rodgers + Hammerstein's Cinderella continues through October 11 at the Boston Opera House, 539 Washington Street, Boston, Ma 02111. For more information, visit the Broadway in Boston website.