iTunes Exclusive Episode Cinderella

The following is a sooner orgator production.
It's midnight, Cinderella, but don't you worry none, because I'm better, better, the
Bob Gintiner, and the part is just begun.
Yes, yo, Prince John, man, wasn't after how.
Reading's Empire, remember, and or members?
If you're hearing my voice, it means the following qualifications apply to you.
It means at least once in your life, you'll listen to the clubhouse podcast, and for
that, we are eternally grateful.
You're one stop shopper, all things sports, and entertainment.
Live every Sunday at 70's, or in four Pacific.
Two hours of your life, we hope you don't want back.
But it also means that you subscribe on iTunes, because it is time for another iTunes explosion.
The people that let's know in our normal life show, they don't get these.
They like you better, but don't tell them that.
My name is Rob, and I am the executive producer of the Clubhouse podcast, and I don't
care what how you make them, there is no way that glass slippers can be comfortable.
I just, the laws of physics take over at that point, so I'm saying.
But I'm not alone for this particular episode, our 108th iTunes exclusive.
Joining me across the desk is he tends to do each and every week here on the show.
Is a man who did not have to throw a party just to meet his wife.
Although probably wouldn't have heard him.
He is chat, well, sir.
Well, it would kind of depend on what you decide to lie in the shoes with.
If you got a good insult, then I think he might be alright.
Dude, I'm pushing three bills.
You put glass shoes on me, they're just, you're shattering, okay?
How great did I'm six feet tall, so it frames itself at least a little bit, but still.
No, they'd have to use plexiglass for guys like us, like us.
Moon shoes.
Who's it, alright?
Also joining me across the desk is the official fact checker of this show.
And a man who, when you say pumpkin carriage, he will just make it into a pie.
Although I'm not a fan of pumpkin pie.
He is.
You may know it was fun, don, go, but his mom and even don, for no one to call him
Don, for the welcome sir.
It a man who's done a few bankwits in his life.
Yes, you have, sir.
Yes, sir.
You think you've done more bankwits than the two of us come to mind.
But pumpkin is my favorite pie.
I don't like pecan though.
I'm not a big pecan pie, right?
I'm very simple, strawberry pie, an open-faced apple pie.
Why?
How do we, weels are gone?
Yeah, we lost wheels.
Not only when we do one of these iTunes exclusives, it's to review something and today is
no exception, but it's not a movie today.
It is the stage production, fresh off Broadway touring the country of the latest revival
of Rogers and Hammerstein's Cinderella.
As you may have gathered from the opening song and may have guessed in the, what's playing
background right now.
You're going to hear a lot of them as the show goes on.
Did it, did it, was it two-year run-up Broadway?
So, it wasn't this particular, it actually, it closed in January of this year.
Touring the country, it is the normal Cinderella story as we all know it, but not in the
Bill Murray's shelf, Chandelier's story, but it's not becoming a master champion, different
from that.
This is the musical, not the one with the mouse, because the mouse owns the rights to that,
such as by Rogers and Hammerstein put their name on their version.
But it's the story.
Magster riches, evil step sister, maybe, evil step mother, the glass slipper, the ball,
the prince, the whole night.
I mean, do we really have to go through the story of Cinderella first?
Don't you?
I think it's ingrained in your brain when you're born now.
It's like, need to eat, need to breathe, I know the story of Cinderella.
It's like sleeping beauty and all the other stuff.
So let's just swan dive straight into the deep end here.
Talk about your feelings about this particular interpretation of this story.
Before we begin, we got to think our good friend Francisco at Dalsam or musicals.
There's 75th year this year, Francisco takes care of us.
Totally, everybody at musical fair park in Dalsam or musicals.
Thank you for letting us come to this thing.
It's been a credible time.
You got to see our friend, Taro, last night too, right?
Oh, yeah, yeah, you got to join Holt.
And join Holt too.
Yeah, you got to join Holt too.
Oh, yeah, I was going to see our friends at these musicals too.
It's it's turning to this big circle of friends.
Exactly.
We love to thank you.
Francisco, Carol, everybody, we get to see their chat.
Thank you so much, guys.
You're your opinion of the interpretation of this particular tale in this particular
environment.
I love what the what the author of the book did for this.
It's it's slightly adapted from what Rogers and Hammerstein did originally.
And you can tell that because there are certain nuances to the story that you know
that when this was done and what the fifties.
There have been some vernacular changes that work well.
If it's well within the framework of the story, when you hear something, when you hear
a character on stage say left turn, you know that wasn't for 1997.
But the new book is by a Douglas Carter being a very accomplished playwright because he
manages to to keep it classic, but not bog it down in an old world vernacular.
And not updated so much that it takes you out of the framework of the story either,
which I really dug.
Uh-huh.
I mean, this guy's got multiple Tony nominations to his credit.
He just needs to on sister acts and to do.
And this was also nominated for a Tony, this book for Cinderella was also nominated for
a Tony.
Done?
Very well earned.
Well, we've seen some stuff in the past, which was classics, like we saw in the new age
fift, like, let me as in the past.
And we also seen stuff that's kind of to the classic.
This was what Chad was saying, I think a good mix between the two.
I really like the storyline.
It's not what I, it doesn't go like frame from the cartoon that we're so aware of.
The Disney production as it were.
But I will say that I like the new twist like Chad was saying, a new age meets old school
I think.
The other thing I liked was the comedy that was put into it.
I really enjoyed those little supports throughout the play that just added to enjoyment
of it.
Okay.
So it wasn't all seriousness and just following the kid's story, but, you know, new age
old age, which some comedy are really enjoyed it, are really did.
I'm a same way.
I think that certain stories, especially when they were written in that time, you
have to update the vernacular, so that it's more appealable to a massive
audience.
Right.
And it's not as, you know, you think there's a lot of leave it to be versatile dialogue
that was in there originally when Julie Andrews did it.
A lot of kids would be like, I don't even know what that means.
Exactly.
But you don't, you don't water it down so much that it takes away from the essence
of the original story, which I really, really dug.
And I don't think it's so different from the animated feature that everybody's so familiar
with it, it would put them off seeing the differences between this production and what
they've had gone, what they've grown.
And there's subtle differences, you know, but nothing too glaring, no, which I really
liked about it from a visual standpoint, we talk about a little bit of the old and a little
bit of the new.
There's the previous Rodgers and Hammerstein musical that we've seen in this season
of Dallas Summer Musicals for the King and I, it relied more on the practical effects
and that more that old style because that's the way you tell that story.
And to realize it's such a timeless tale that you could put a little flash and penash
in it, not too much, but just enough to make things flow a little bit better.
And I talk about this in my review at www.theclubhousepodcast.com, which is our website,
you better believe it is, sir, that I like that combination, where you had the scene where
the prince is writing his horse and you know, it's a fake horse, but the way they're
making the horse move doesn't distract you from what's going on, but you've also got
the great lighting and some of the other technology that's made that are, those modern
creature comforts, if you will, that make telling the story a little bit better.
When we walked in, oh, and saw the stage because there's no, there's no curtain on
this bad boy.
And the set that we hear the noise that they put in the sounds of the nature, that
really, when I realized what was going on there, I go, I think we're going to have something
good here when it comes to the set, but it was like there already involved when you
walked into the door.
You felt like you were walking into the aviary at your local zoo, that's all you could hear
it was birds chirping.
I mean, you totally get sucked in.
And when I really dug when you talk and down this heck of a segue to my next point, when
you talk about nature and animals, there, there's only a couple of animals involved in
this deal that are done as like puppets, but it's not, I didn't feel like I was watching
a really bad Nickelodeon movie.
Like they were cute enough that you knew they were puppets, but it wasn't too cute.
I guess is what I'm looking for here.
Right.
They didn't overpower what was going on.
I think the subtlety of it worked very well.
They didn't become the focus of the scene, which they shouldn't have.
Right.
And the mice were such a minor part when you compare it to the Disney version.
Yeah.
The mice are just kind of there to serve their purpose, and that's it.
They're not integral to the story because it's harder to do it that way when you're
doing a live stage production versus an animated feature.
Don and he thought to there, I, I was totally, and if you're re-might reading view at
the clubhouse.com, that is our website.
I was blown away by the sets.
They look so professional and how fast they were able to turn them around and some
moved in a trot, I don't know how you pronounce it.
Animatronically.
Yeah.
Where they just start moving by themselves.
But when they switched the sets and they went from location to location, you really felt
that you're traveling from one place to the next.
There was a very, very good even, there was one scene where you went from the inside
of the house to the outside of the house.
And that was a very seamless transition.
They did that a lot.
They did that quite a bit.
They did that quite a bit.
The background's a props were incredible with lighting.
I was blown away.
It was pure professionalism on that.
I've got to say from that standpoint, my favorite moment from that, from what you're
talking about, is the second emergence of the fairy godmother, which, how you saw like the
crystals, like crystal lighting effects, and then the fairy godmother comes through the door
or through the wall.
I thought that was really neat.
That was my favorite, a little effect in the film.
Outside of the horse, because the horse was awesome.
Because I don't gypsy road by Cinderella, it's Cinderella.
I told you, you're going to hear a lot of Tom Kiefer in this.
I love it.
I just, and then, I mean, where do you even begin with the performances here?
I said, I said in my written review at www.theclubhouse.com, I can't find anything bad
to say about this particular production.
Especially the performances.
I hope I don't screw this up.
Page Phara, who played Ella on Broadway in the original Broadway production in this
go round.
One thing I really dug, and Chad and I, we kind of conversed about this during the production.
Not only is she Cinderella, but she kind of evokes another one of the Disney princesses
in this.
There's a lot of bell from beauty in the beast in L, A, A, you know, it's going to happen.
But not enough for you to go, okay, now they're ripping off beauty in the beast.
She owned the part herself, even though she had the gold dress, she had, she even her
her rags outfit looked a lot like Belle, but she owned Cinderella.
Yeah, she did absolutely owned it.
Her vocal was so pure and clean.
If you, if you flick the air, you could hear, like, it's, it's that good.
And any Jones didn't cribble to Prince.
Oh, absolutely.
Andy Huntington Jones, thanks Prince Tofer, and of course, you can't think Tofer.
I don't think Grace, but it's just me.
It's gonna be.
But he was also in the original Broadway show, so they've been working together for quite
some time, but you don't get that, that sense of them getting too used to each other.
Their chemistry is incredibly strong, and I, I would venture to say that the director
and producer of the touring production was like, look, we got to get both of them.
We have to do this, and they just, they, they played very well.
There's not a performance here that I would say anything bad about, a performance that
kind of surprised me with Charlotte played by Amy Garcia.
If I hadn't seen the second act, my opinion would be completely different, because she's
so diminished in the first act, but her, she has a solo right to begin, solo performance
right at the beginning of the second act, which adds a whole different dimension to that
character, which I absolutely love, and they're going to throw a shoe.
Yes, she can.
And usually I'm like, and who throws a shoe, honestly, I have, but, in the past, you
know, when we see these events like this, I might have one or two shining stars
that are not lead roles.
Right.
I had about four.
I really had to kind of narrow it down for me, David and Dino, John Michelle.
Oh, he's my top, he was, he was my favorite character from all of everybody.
He reminded me a lot of Josh Gad, I couldn't place it, that, that, that's the, and
saying that that's a huge compliment coming from me, because I am a huge fan of the great
Josh Gad, who many of you know is the voice of Olaf from Frozen.
I know him as the crazy son on a 1600 pen currently featured with Billy Crystal in the
FX show, the comedians.
Yeah, my other shining stars was like you say, Amy Garcia played one of the step sisters.
Also, the lady who played like the fairy godmother, Kishel Lewis, she was amazing.
Well, her singing was through the, what I loved about her is that she really owns that
stage, but she owns it in a way that doesn't take away from the co-star she's with on
the stage.
And that's, that's not something you can teach very well in bread.
That kind of stage presence is natural.
In my last one was Branch Woodman who played Sebastian, you know, the king's right
man.
Yeah, man.
He had very good comedic timing.
Also, a guy that did a lot with a little in this was Antoine L Smith playing Lord
Pinkles.
Yeah, if you didn't mention him, I was going to what a voice on this guy.
When we do this scene where they're announcing the mask arrayed and the king is having
a ball.
Like, he just, he has such an amazing presence.
I don't know if you need the mic to do, probably not, because his, his voice projects
so well and so naturally it didn't sound like he was straining and it carried through
the house, which was amazing to me.
I, you know, Gabrielle played by Caitlyn Davidson.
Great.
I mean, kind of provided an emotional anchor, madame played by Beth Glover.
I can go on and on and on and on with this thing.
I was so impressed from top to bottom, everybody in this cast was amazing.
You know, I can't give you, if you ask me to, to give you one performance.
I can't do it.
And I mentioned to you whenever we were sitting there in the theater last night that you
can more often than not go through the cast of a of a musical that we've gone to and pick
at least one or two people that maybe they could have gone with a better casting choice.
Not in this one.
Not in this one.
Not in this one.
Cannot, cannot do it.
Not, not, not.
And one, one scene that really blew me was, which happened twice on you.
I, I don't know if we want to spoil this or not, but when she converts right before
the ball.
Yeah, that's not give that away because, yeah, and one thing I said, the both of you are
to that scene was just to just believe in magic.
Oh, yeah.
Just believe in magic.
It was magical how they transformed her to the, uh, thinking ready from the ball for
the ball from the.
Yeah, it's, yeah, that was just mind blowing.
It was so impressive on every level.
I have one minor gripe.
These do sir, which was the songs were credible that it was in, in tune, everything
like that.
The singing was great.
It stepped the volume was a little low for this.
I thought.
See, that you said that.
Chad and I, I don't think we had a problem.
This was a person.
It was a little bit off in the beginning as they tend to do, but once, it only took about
30 seconds for them to get their feet underneath them.
I didn't have a problem with it personally.
I thought the music volume was a little bit low on this one.
It just made me personally.
The orchestra dead on.
Oh, yeah, they still played with this very, very well.
Yeah.
That, that would be my only gripe of anything that could be done beyond this.
I was blown away and I was impressed and how great this thing was.
I thought it was just going to be Cinderella Cinderella, but when we left, I was going,
this was great.
Anything else I want to add for you to the final analysis?
Incredible.
I just, I, I, I made a loss.
I really am.
I thought the scenes, the props are everything incredible, but again, we got to think
Francisco, everybody at Dallas, some are musicals and everybody at musical fair park.
Thank you for inviting us to this is always an honor that our vendors think so highly
of us and we're so appreciative of them.
The way we do the final analysis on this show, we don't give you thumbs up thumbs down.
We don't give you stars.
We don't give you letter grades or one to ten are audience.
The empire is better than that.
Normally, it's a two-prong question.
It kind of sort of is, but it's a little bit different when we do stage productions.
This number one is, would you see this production again?
If the answer is no, then we're done here.
But if the answer is yes, in the case of a stage show, the question becomes, how much
would you be willing to pay and where would you want to sit to see it again?
Don, we will start with you.
Would you see this production of Rogers and Hammerstein Cinderella again?
Definitely.
I would.
Where you want to sit?
I would sit, because of all the stage lighting, I want to sit center on the front row
of the balcony.
Okay.
Still recommended for the four center floor for anybody who hasn't seen it.
I'd just like to see it from a higher angle this time.
Chad, would you see this again?
Oh, gosh, yes.
Where would you want to sit?
As close as I possibly could without having an obstructed view or having to crane my neck.
Because the only thing that that bums me out is that when you're sitting in the closer
to the back of the auditorium, you really can't see the actors in mode on stage.
The only part I will agree with you with and I'll expand on what you just said a little
bit.
You don't see a lot of the puppets, the woodland creatures as well from from the farther
back.
However, I am dead on agreement with Don.
I would want to sit in the front row center of the balcony to have that view.
So I could see everything that's going on.
What I loved about this production is how many girls do we see in little Cinderella dresses?
Oh, how many families do we see?
And I didn't tell you guys this, but during the intermission when I went downstairs to make
sure the restroom was made current health codes, there was some father that was
dressed as the prince.
Oh, dear.
Oh, God.
And I was like, sir, parenting.
You are doing it correctly.
That's committing.
Yeah.
And again, this goes to the members of the Empire.
If you're not in the DFW area, keep this in mind.
It's your own production.
Yeah.
It's your own production.
And this is playing at Dallas, a, a musical, fair park.
It's playing through the 21st Sunday of June 21st.
Father's dead.
Yeah.
Then I think once it leaves here, doesn't it go to bass?
I don't know.
I don't know if it goes forward or not.
Anything else we want to add?
I think that's about it.
All right.
Let's do the plug, gentlemen.
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I am a yes, that Rob Urban that has spelled ERV.
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You can email me at Don at theclubhousepodcast.com.
Email Don for information on how we can come to a live remote show for you.
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You can email me if you like questions, comments, concerns.
Tell me to go pound sand.
I am Rob at theclubhousepodcast.com.
And yes, it is going to forward with after it leaves here from June 23rd.
June 28th.
Okay.
I am Chad at theclubhousepodcast.com.
Jewel's Womack is hanging out wherever Chad's not right now because he's here.
Show the Parker's on Pinterest because we are morally obligated to say that.
Our normal show every Sunday night, 70's from 4 Pacific is your one stop shop for all things sports
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So until next time, for Don, for Chad, for the Empire, I'm Rob.
Clubhouse is closed.
I really could see Brittany Palmer in this role.
I'm just saying.
The preceding was a sooner or greater production.
Get a go!
Get a go!
Why?
Because I have to.