Andrew Lloyd Webber captivated audiences and the Broadway community with his work Jesus Christ Superstar to The Phantom of the Opera to bring another Cinderella story in his lesser-known song ''Bad Cinderella'' from the Carrie Hope Fletcher musical production.
Cinderella is a story as old as time and reintroduced countless integrations: first the Rodgers & Hammerstein; then Disney; then Pretty Woman; then Ever After; then A Cinderella Story film series; then Camilla Camelo.
The newest musical describes as the ‘‘modern twist’’ about a young woman struggling to make her mark in the world and is tired of being mistreated by her stepfamily and transformed into the rebellious, ‘‘bad’’ girl Cinderella.
The composed lyrics take the comedic route with puns and double entendres meant to be funny and witty. However, the newest rendition feels unrefined, redundant, and lacks the substance different from Carrie Hope Fletcher’s Bad Cinderella has more storytelling than the recent one. The lyrics in the new rendition focus on making cheap jokes rather than telling a story or expressing emotions leading to feeling shallow and lacking artistic value. In addition, Fletcher’s Bad Cinderella song does the same thing, but there are substance and emotions. Nevertheless, the quips are not cheap and are aware of the shallowness.
The new musical score of Bad Cinderella feels too cheerful and fast-paced and does not fit the tone of the story trying to tell from Linedy Genao’s Bad Cinderella song. Genao’s version is flashy and executed well. After a few times listening to the lyrics begins to feel nuanced and will slowly get stuck in your head.
Bad Cinderella score is not as straightforward as it may seem with perpetuating stereotypes about women, such as the idea that being "bad" equates to living promiscuously and sexually liberated. Also, the lyrics trivialize experiences shining a light on domestic violence and portraying it as desirable and exciting.
In Genao’s "Bad Cinderella'', Genao showcases her vocal range but cannot escape score utilizing the comedic fourth wall singing about domestic abuse and sexual promiscuity with playfully trivializing real-life experiences and promoting toxic behaviors.
Furthermore, the Bad Cinderella score flexes a narrow and limited view of femininity memorialized by patriarchal society for centuries. The song perpetuates the false idea that women must choose between being passive and virtuous or rebellious and sexually promiscuous, ignoring the complexities and nuances of female identity.
Linedy Genao’s Bad Cinderella might be fun, and catchy flexing messages about patriarchal stereotypes cannot escape the listeners’ ears. If we’re advancing toward a more equitable society, we must critically examine the musical score ‘‘Bad Cinderella’’ brings attention to cultural attitudes.
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