The good Act of "Bad Cinderella"

The majority of Broadway show reviews were penned by critics who adopt a literary technique-based approach when evaluating a production. They focus on elements like character development and plot structure. However, in today's digital age, ordinary reviewers also hold significant sway over the box office. Unfortunately, unfavorable reviews from critics can still lead to the premature closure of a show, despite positive feedback from the audience. This was the case with Bad Cinderella.

Thus, I feel compelled to defend this show and highlight the biased and unjust opinions of the established critics found in newspapers such as The New York Times, The Guardian, and Entertainment Weekly. As both a viewer and an educator examining mass media through a culturally responsive lens, I view critics not as impartial judges presenting objective facts, but as individuals with their own perspectives and experiences that inform their work. Consequently, I ask: whose viewpoint does the review align with?

The current adaptation of Cinderella, an Andrew Lloyd Weber musical, aims to reimagine this classic story for the modern era. At the intermission, I initially anticipated a predictable ending where "Cinderella rescues Prince Charming (Sebastian)." However, the second half surprised me. The plot may not be the strongest aspect of this rendition and defies logic on multiple levels. Nonetheless, it offers an updated commentary on one of the most well-known tales, incorporating contemporary racial and gender politics into its traditional, patriarchal setting.

The story revolves around two characters, Cinderella (played brilliantly by Savy Jackson) and Prince Sebastian. They find themselves confined within societal expectations concerning appearances, gender roles, and aspirations. All they desire is normalcy and the opportunity to make mistakes and explore interests relevant to their generation. Cinderella pursues this through enhancing her beauty for the royal ball, where she successfully gains admiration. However, Prince Sebastian fails to recognize her true identity. Instead of being rescued by Cinderella, he is saved by his own brother, who returns from self-imposed exile with a new “bride” and a revealed sexual identity. The Queen, after cleverly absorbing her initial shock, embraces pragmatism and joyfully declares the city the City of Love.

Admittedly, the production may come across as cheesy, frivolous, and superficial. Nevertheless, I believe that the effort to make it culturally responsive should be acknowledged. The true success of this new version lies in its diverse ensemble and their skillful integration of all the elements that make a "Broadway" show, resulting in an enjoyable production. It brings me great joy to witness BIPOC young artists being provided a platform for their voices. During the finale, as I sat among a racially diverse audience, I noticed many individuals profoundly moved, overwhelmed by their own identity issues. It made me wonder if some critics truly pay attention to their audiences or remain oblivious to experiences beyond their own. Achievements, even if small, such as this should be celebrated.