Charl Brown as Captain Laurent leads the couriers in “Is There Anything Leonardo Can’t Do?” in “Ever After,” a new musical at the Paper Mill Playhouse, Millburn. NJ (Photo by Jerry Dalia)
Charles Shaughnessy as King Francis (left) and Tony Sheldon as Leonardo da Vinci in “Ever After” at Paper Mill Playhouse. (Photo by Jerry Dalia)
Margo Seibert (Danielle) and the men of “Ever After” at Paper Mill Playhouse. (Photo by Jerry Dalia)
From left, Annie Funke (as Jacqueline), Christine Ebersole (as Rodmilla) and Mara Davi (as Marguerite) in “Ever After” at Paper Mill Playhouse. (Photo by Jerry Dalia)
From left, James Snyder as Prince Henry, Margo Seibert as Danielle and Christine Ebersole as Rodmilla in “Ever After” at Paper Mill Playhouuse. (Photo by Jerry Dalia)
Margo Seibert as Danielle and James Snyder as Prince Henry in “Ever After” at Paper Mill Playhouse. (Photo by Jerry Dalia).
“Ever After,” a new version of the Cinderella story based on a 1998 movie now turned into a major musical by the Paper Mill Playhouse, must have Broadway aspirations with Kathleen Marshall at the helm, Christine Ebersole as the evil step-mother, James Snyder as the Prince and much of the super talented cast boasting Broadway credits.
And wow, can they sing and dance with Marshall (who has 17 Broadway musicals on her resume) also handling the choreography. Paper Mill is known for mounting big, lush musicals but has outdone itself this time with the world premiere of “Ever After,” which features a book and lyrics by Marcy Heisler and music by Zina Goldrich.
Emily Mann writes, directs and runs McCarter Theatre
When McCarter Theatre’s Artistic Director Emily Mann isn’t introducing major new works in Princeton, she’s creating her own. Her new translation, a stage version of Ingmar Bergman’s six-hour Swedish miniseries “Scenes From a Marriage,” is receiving a very innovative staging at the New York Theater Workshop under the direction of Ivo van Hove.
The theater has essentially been gutted. (Watch video of transformation here.) The proscenium gone. According to an article by Erik Piepenburg in the New York Times, the audience is divided into three groups of about 60 each for three different 30-minute scenes. After an intermission the theater is transformed and the audience sits in the round for the second act.
Paper Mill Playhouse in Millburn, NJ, is well known for its lush, classy, reverent productions of mostly classic Broadway musicals. Has been for years, which is one of its problems. How many times does — even a theater lover — want to see a traditional revival of “South Pacific” “Fiddler” or “Dolly” ? A new interpretation, yes, maybe, but will it fill the 1200-seat space. When the Playhouse took a chance on an innovative production, I saw audiences walking out at intermission.
But things have changed in the past decade since Mark Hoebee, now producing artistic director, started working there, and Michael Gennaro, from Chicago’s Steppenwolf Theatre Company, became Paper Mill’s president and CEO.