Before making its Broadway debut last month, Andrew Lloyd Webber’s new musical “Bad Cinderella” originated in London before transferring to the West End. Following the trend of recent Broadway shows, “Bad Cinderella” incorporates a feminist perspective on a traditional story that was steeped in the patriarchy.
While the new take on the classic “Cinderella” fairytale sounds enticing, it’s brought some complications to the musical as a whole. The story follows “Bad Cinderella,” an outcast in the town of Belleville, played by Linedy Genao. The villagers of Belleville focus on the superficial, such as how they look and their longing to marry Prince Sebastian (Jordan Dobson) just to gain a royal title. The melodramatic costumes reflect Webber’s announcement at the beginning of the show, saying that Belleville’s extravagance would even put Disney to shame.
Compared to the original album cast recording, Broadway’s production of “Bad Cinderella” has censored some of the most comedic moments that would have maybe given this musical higher praise. For example, in the West End production, there is a moment when the town’s new statue is uncovered and found with graffiti of “such an enormous phallus” (a lyric in “Buns N’ Roses). This instance is later remarked by Prince Sebastian’s comments in the song “So Long,” for Bad Cinderella’s “nice handiwork.” In the Broadway version, the graffiti is replaced with the words, “Beauty Sucks,” but Prince Sebastian’s commentary is still there, taking a comedic moment and replacing it with minimalistic dialogue.
As a Latina, one of my favorite aspects of the musical was having Linedy Genao be the first Latina performer to originate a leading role in an Andrew Lloyd Webber musical. While this detail contributes to the “modern woman” the musical often advertises, it doesn’t get over the fact that “Bad Cinderella” is attempting to get rid of Webber’s “The Phantom of the Opera,” which has received much higher praise. Much of the musical’s promotions feature Genao saying if viewers “missed ‘Phantom,’ well, there’s a new baddie in town.” Plus, the Playbill of “Phantom of the Opera” advertises “Bad Cinderella” by saying “Christine… you in danger, girl,” rather than focusing on the content of the musical itself.
The redeeming quality in this production, however, was the creative story that contributed to the soundtrack. It still plays in my mind. Prince Sebastian’s “Lonely You, Only You” is reminiscent of “The Music of the Night” from Webber’s infamous “The Phantom of the Opera” while reflecting Prince Sebastian’s internal struggle between wanting to be with Bad Cinderella and adhering to his royal duties.
Probably one of the best comedic moments that added to the story’s development was the duet, “I Know You,” between the Queen (Grace McLean) and the Evil Stepmother (Carolee Carmello). Attempting to get rid of Bad Cinderella from earning Prince Sebastian’s hand, the Evil Stepmother turns to the Queen and decides to blackmail her in a musically hilarious way. They remember each other from “another time, another place” before they were in their respective roles, implying that both women spent “so many years, so many nights [with] so many men.”
Overall, Broadway’s production of “Bad Cinderella” doesn’t top the original musical performed in London, but it still brings honor to Andrew Lloyd Webber’s name as a composer with a soundtrack filled with character development and a quality story.