Genao, using her own Brooklyn-Dominican accent, leans into Cinderella’s charming petulance where she can and finds sparks of something approaching chemistry with Dobson - at least up until they start singing Zippel’s rubbery recitative. : “Within that half-risen soufflé of a plot, the cast of Bad Cinderella tries valiantly to prevent the collapse of your interest. Tylesova’s set of creepy roots and twigs is attractive, but feels miles away from, say, a whimsical plastic surgery scene or a group of shirtless warriors getting cat-called.”ĭeadline: “What Bad Cinderella does have is an amusing enough premise, an appealing score of songs that please in the moment, a gorgeous set design, performers that give it their all, and just enough rousing, good-natured moments to hold onto hopes that Bad Cinderella will arrive somewhere transformative before Dorothy has to return to Kansas.” The direction and design left me cold again. New York Post: “Lloyd Webber’s music - some, not all - is the show’s redeeming element. Even the musical’s supposed moral, that looks aren’t everything, makes no sense when the actress portraying Cinderella is unarguably lovely from the get-go.”

The score by Lloyd Webber and Zippel has an all-too predictable supply of power ballads. Hunter is one pandering, overheated conceit after another.

Washington Post: “the production staged by Laurence Connor and choreographed by JoAnn M. The New York Times: “Also lacking delicacy: the songs, with workmanlike lyrics by David Zippel, and music by Lloyd Webber that often sounds like it escaped from “Phantom.” The prettiest, if most bombastic, is “Only You, Lonely You” for Sebastian, which has the engine-in-overdrive feeling of “The Music of the Night,” complete with triple-crème melody and sludgy orchestrations (also by Lloyd Webber).” And for so often rewarding creators for rehashing old stories while vainly expecting the unexpected.” For not-so-secretly wanting to be admired ourselves, and to see our vanity endlessly reflected back to us. If “every great disaster has a villain,” as the hot people of Belleville claim, maybe the villain, in this case, is us. Variety: “But as the Webber production’s requisite turntable spins and spins, it’s easy to wonder who this new fable is for and what revised moral it aims to impart. But if bubblegum melodies, outfits that slay, and pectoral-forward fun is what you’re after, the shoe fits.” The Guardian: *** “This Cinderella doesn’t have that much to say in the end. Andrew Lloyd Webber’s musical has now officially opened on Broadway, here’s what critics have had to say about it…

Bad cinderella london