Allegro **

For Rodgers and Hammerstein, the third time was not a charm. Their 1947 attempt to do something a bit experimental, with a Greek chorus, ballet sequences and a plot that could be described as Thornton Wilder with a touch of Brecht, was a letdown after Oklahoma! and Carousel. It ran nine months, had a brief national tour and was thereafter largely neglected. Now Classic Stage Company has revived it. Sort of. One could argue whether reducing the cast from 67 to 12, throwing out the DeMille ballets, simplifying the plot to fit into 90 minutes and subjecting Allegro to the John Doyle treatment with actors doubling as musicians leaves enough of the original to even be called a revival. There are still a handful of good songs including “A Fellow Needs a Girl.” “ So Far” and “The Gentleman Is a Dope,” but the moralistic plot about the virtues of small-town life and the evils of the big bad city is embarrassingly simplistic. Claiborne Elder is fine as Joseph Taylor Jr. as are Malcolm Gets and Jessica Tyler Wright as his parents and Alma Cuervo as his grandmother. Elizabeth A. Davis is strong as Jenny. Megan Loomis and Jane Pfitsch each do well with their respective songs. The other members of the hardworking cast are praiseworthy too. Ann Hould-Ward's costumes are evocative of the period. Theater history buffs will want to see the show, but for others it is not a “must-see.” 

Cinderella ***

(Please click on the title to see the full review.)
Rodgers and Hammerstein's  TV musical written for Julie Andrews in 1957 has been subjected to much  tinkering over the years. None of its many versions made it to Broadway until now. Douglas Carter Beane has substantially rewritten the book, with uneven results. The king and queen are gone and there are several new characters including a wicked prime minister and a revolutionary. In this version, Cinderella has a social conscience. Another twist is that it is not at the ball that she loses her glass slipper. One of the stepsisters is not mean and gets a love interest. The best argument for this production is that it provides employment for such stalwarts as Harriet Harris, Victoria Clark and Peter Bartlett. Laura Osnes has the loveliness and vocal talent for the title role. Santino Fontana is dark and handsome, although not tall. His abundant charm makes up for his unremarkable voice. The score is not  one of their best, but does include enjoyable numbers like "Ten Minutes Ago," "Stepsisters' Lament." "A Lovely Night" and "Do I Love You Because You're Beautiful." Anna Louizos's scenic design is lavish. William Ivey Long's costumes are often garish. His unflattering high-necked jackets with tails for Fontana make him look short and squat. The fairy godmother has an unfortunate headpiece that looks like the antennae of an insect. Mark Brokaw's direction is assured. It adds up to a mildly pleasant evening, especially if you have a young daughter, niece or granddaughter in tow. Running time: two hours, 30 minutes including intermission.