She gives the role her all, including a flair for stomping around the stage and giving Cinderella a Brooklyn accent. It is hard not to root for a woman who was, until recently, a bank employee. Still helmed by Connor, the show has been rejiggered and features a new cast, including its lead, Linedy Genao, the first Latina woman to star in a Lloyd Webber production. At the final show last May, after less than a year of a stop-and-start performance schedule, director Laurence Connor read a letter by Lloyd Webber over a chorus of boos, calling the production “a costly mistake”.
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He declared that he was determined to open at full capacity, even if it meant his arrest. Lloyd Webber did not take the city’s pandemic protocols in stride. The original London production that was supposed to open in the early days of Covid was postponed several times before its painfully short and unprofitable run. The behind-the-scenes story has been anything but beautiful. Female characters prune and primp and book plastic surgery appointments, and are seen sporting bandages on their faces (whether this is a nod to the masked hero of Lloyd Webber’s Phantom of the Opera or our current Ozempic era is anyone’s guess). The French town of Belleville is an equal opportunity land of vanity. An even more rousing visual is the gang of shirtless men who are on hand to burst into Magic Mike-ish dances at the drop of a beat. The bon-bon aesthetic comes to us courtesy of Gabriela Tylesova, who designed the twinkly sets as well as the mouthwatering costumes, a colorful parade of voluminous dresses that would have Carrie Bradshaw’s eyes pinwheeling. The staging owes a great debt to the school of Disney, with eye candy aplenty.
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