'SISTERELLA' AN ENERGETIC MISFIRE.

Byline: Daryl H. Miller Daily News Theater Critic

Musical theater meets MTV in "Sisterella." It's "Cinderella" as filtered through "My Fair Lady" as filtered through a Michael or Janet Jackson video.

Its premiere at the Pasadena Playhouse is bound to be one of the city's most talked-about productions for the next few weeks, and tickets no doubt will dry up fast. Yet for all of its explosive energy, the show remains curiously flat and uninvolving. That's due partly to the fact that there's very little story here, partly to an overreliance on stereotype and partly to the fact that whenever they had a choice, the creators almost always opted for glitz over substance.

The book and music are by Larry Hart, a virtually unknown entertainer and songwriter who now finds himself in very good company. Michael Jackson's record label, MJJ Music, invested in the show's development, and Miramax Films and Robert De Niro's Tribeca Productions have purchased the Broadway and film rights. Miramax and Tribeca also contributed heavily toward the Pasadena production, which cost more than $1 million.

"Sisterella" is an African-American retelling of "Cinderella," set in New York City in 1912. Why the action is set in 1912, I can't possibly imagine, unless it's because someone thought period costumes would look cool. Aside from the clothes, everything screams 1996.

Cinderella is now sweet young Ella (think Whitney Houston) who, after her wealthy father's death, is much put-upon by her greedy stepmother, Dahlia (think Patti LaBelle), until she's rescued by her fairy godfather (think RuPaul).

There's virtually no dialogue, just song after song - fantastically staged by David Simmons and choreographer Raymond G. del Barrio.

Dahlia (Yvette Cason) oozes don't-mess-with-me attitude as she struts across the stage wailing "I got the money" and "I'm taking over," while the newly hired army of butlers and maids shimmy along. When it is revealed that hubby's fortune actually was left to Ella, she retreats to the garden for a strategy session. There, the statues, posed in heroic Greek poses, come alive with the jerky, angular movements of the zombies in Michael Jackson's famous "Thriller" video.

In a series of quietly stormy, pseudo-gospel ballads, Ella (Della Miles) prays to her dear father for guidance. Presto, a fairy godfather (Ralph Cole Jr.) appears in a campy yellow cutaway jacket with feathery wings on the back ... and stiletto heels. (Egads, talk about stereotypes! Grumble, grumble.) He teaches Ella some attitude of her own in an over-the-top disco number highlighted by Village People clones spelling out E-L-L-A with their arms, a la the Village People's "Y.M.C.A."

Other cultural references flow fast and furious. Look for Audrey Hepburn's ball gown and the Ascot Races number from "My Fair Lady," the "Phantom of the Opera's" lair (the mental institution in which Ella is confined), the "Beauty and the Beast" waltz and even a momentary glimpse of "Fiddler on the Roof's" folk dances.

The plot is riddled with holes. Why, for instance, does Dahlia continue to control the purse strings after Ella is revealed as the rightful heir? Worse, the action bogs down in an overlong courtroom sequence introduced as "the trial of the century" and obviously meant as a commentary on today's celebrity trials.

But the musical-MTV hybrid is an idea whose time has come, and if this show doesn't sell it, another one soon will.

THE FACTS

The show: "Sisterella."

Where: Pasadena Playhouse, 39 S. El Molino Ave., Pasadena.

When: 8 p.m. Tuesdays through Fridays, 5 and 9 p.m. Saturdays, 2 and 7 p.m. Sundays; through April 21.

Running time: Two hours, 30 minutes; one intermission.

Tickets: $55 tickets are all that remain, available by calling [phone].

Our rating: Three stars