In a reality plagued by political strife, economic hardships, and social conflict, we long to escape to a perfect fairytale. Thus, when a classic story graces the stage, we expect a feel-good, magical adventure that will allow us to forget all the worries of the modern world. However, in the Broadway’s premiere production of Rodgers and Hammerstein’s beloved musical Cinderella, we are unfortunately reminded that the problems of reality exist even in a fantasy world. We learn not only moral lessons like believing in our dreams and kindness, but also the false origins of democracy and the inequality of society.    

I grew up religiously watching the 1997 TV version of Cinderella with Brandy and Whitney Houston. I knew all the songs and used to seek refuge on a rainy day in my own little corner belting out the catchy show tunes. Thus, when I learned that a new adaption of my favorite musical was coming to Broadway, I knew I had to see it. Nonetheless, I felt childish and expected to be the only teenager sitting in the audience of the marvelous Broadway Theatre for the evening performance of Cinderella.

To my surprise, the audience was a mixture of mostly young couples, teenagers, and older adults. It didn’t take me long to understand why. This version of Cinderella is almost unrecognizable to the innocent tale we all know. The show revolves around Ella (Laura Osnes), a compassionate dreamer who lives and toils under the cruel, cold regime of her stepmother (Harriet Harris). With help from her fairy godmother (Victoria Clark), Ella wins the heart of dashing Prince Topher (Santino Fontana) and tries to help him understand the problems brewing in his disgruntled kingdom.

Yes, Cinderella has somehow turned into a political satire! There is a constant emphasis on inequality and the stratification of society. I was half-expecting the rise of the proletariat and a revolutionary war during the second act!  It is obvious that the producers were trying to target a much older audience, rather than just little girls in princess dresses. They tried to add depth with a creative, new spin, but only added much confusion. Cinderella is meant to be about the possibility of the impossible and making our dreams come true, not so much about realism. That is the beauty of the original musical, the fluff and the corny happily-ever-after, not some significant, profound message.

That being said, this new production has many highlights. Rodgers and Hammerstein’s remarkable score is preserved with a few quaint additions. The music is done justice by the fantastic vocals of the cast. Laura Osnes is the perfect leading lady. She has a gorgeous soprano voice that is fit for a princess. She truly carries the entire show and her struggle is definitely relatable for every girl in the room. Victoria Clark is another standout as Ella’s fairy godmother.  She has a very kind and maternal quality about her. Her voice is rich and she sings with such a traditional style, which you don’t hear on many Broadway performers.

The set is spectacular and extremely realistic. Each piece is so elaborate and really helps to provide the right ambiance for the show. Ella’s house is very cozy and plain, while the prince’s castle is dazzling and proper. The movement of the set pieces is very liquid and smooth.

What truly make the show the Cinderella we all love are the special effects.  The transformation of the pumpkin to the carriage, the mice into horses, and especially Ella’s ragged frock into a ball gown was jaw-dropping.  I especially loved the clothing quick-changes.  They were truly magical, happening right on stage, in front of my very eyes.  The whole audience was in awe.

Overall, Cinderella is enjoyable and an entertaining journey back to my childhood.  There are a few kinks in the plot, but with a little work, this show has the potential to become the magical musical it is meant to be.