Rodgers & Hammerstein's Cinderella (Enchanted Edition)

AN R&H THEATRICALS TITLE

Rodgers & Hammerstein's Cinderella (Enchanted Edition)

Full-Length Musical, Comedy  /  6w, 3m plus ensemble

Music by Richard Rodgers
Book and Lyrics by Oscar Hammerstein II
Adapted for the Stage by Tom Briggs

From the Teleplay by Robert L. Freedman

Inspired by the acclaimed 1997 teleplay starring Brandy and Whitney Houston, this version of the magical fairy tale is reborn with the Rodgers & Hammerstein hallmarks of originality, charm and elegance.

Rodgers & Hammerstein's Cinderella (Enchanted Edition)

  • Cast Size
    Cast Size
    6w, 3m plus ensemble
  • Duration
    Duration
    120 minutes (2 hours)
  • SubGenre
    Subgenre
    Fantasy, Adaptation (Literature), Christmas/Holiday, Fable/Folktale, Romantic Comedy
  • Audience
    Target Audience
    Appropriate for All Audiences
Accolades
Accolades
  • Nominee: Seven 1997 Primetime Emmy Awards
    Winner! 1997 Primetime Emmy Award for Outstanding Art Direction

Details

Summary

Four versions of Rodgers & Hammerstein's Cinderella are available for licensing. To compare and contrast the four versions, click here.

The timeless enchantment of a magical fairy tale is reborn with the Rodgers & Hammerstein hallmarks of originality, charm and elegance. Originally presented on television in 1957 starring Julie Andrews, Rodgers & Hammerstein's Cinderella was the most widely viewed program in the history of the medium. Its recreation in 1965 starring Lesley Ann Warren was no less successful in transporting a new generation to the miraculous kingdom of dreams-come-true, and so was a second remake in 1997, which starred Brandy as Cinderella and Whitney Houston as her Fairy Godmother. As adapted for the stage, with great warmth and more than a touch of hilarity, this romantic fairy tale still warms the hearts of children and adults alike. This Enchanted Edition is inspired by the 1997 teleplay.

History

Rodgers & Hammerstein's Cinderella premiered in a live television broadcast on 31 March 1957, starring Julie Andrews, a sparkling new star who had just triumphed in My Fair Lady. Richard Lewine, a distant cousin and close friend of Rodgers, produced and Ralph Nelson directed. Real-life spouses Howard Lindsay and Dorothy Stickney played the King and Queen; Jon Cypher played the Prince; Ilka Chase, Kaye Ballard and Alice Ghostley played the comical Stepmother and Stepsisters; and Edi Adams played the Fairy Godmother.

Rodgers & Hammerstein approached the story with the honesty and simplicity that characterized all their work, and Cinderella was a smash hit. The live broadcast was viewed by more people than any other program in the history of television.

In 1997, Rodgers & Hammerstein's Cinderella was remade for television in a production adapted by Robert L. Freedman and directed by Robert Iscove, with choreography by Rob Marshall. Produced by Whitney Houston and Debra Martin Chase for Walt Disney Television, Rodgers & Hammerstein's Cinderella aired on 2 November 1997. This version featured a diverse cast, with Brandy Norwood as Cinderella, Whitney Houston as her fairy godmother, Bernadette Peters as Cinderella's stepmother, Paolo Montalbán as the prince, Whoopi Goldberg as the queen, Victor Garber as the king and Jason Alexander as Lionel, the herald. Several songs were added, including “The Sweetest Sounds” from No Strings, sung by Cinderella and the Prince, and “There's Music in You,” written for the 1953 film Main Street to Broadway, sung as the finale by the Fairy Godmother. Sixty million viewers watched the broadcast, making it the most-watched television musical in decades, and earning ABC its highest Sunday-night ratings in 10 years.

As a kingdom celebrates its Prince’s decision to give a ball for the express purpose of finding a bride, Cinderella’s two stepsisters and their mother enter. This less-than-lovable trio is followed by what seems to be a large pile of packages, but in fact is Cinderella carrying the ladies’ ball gowns, frills and frou frou from a successful shopping spree. Cinderella, it becomes apparent when they arrive home, will have the formidable job of making the Stepmother and Stepsisters beautiful for the ball—in addition to her other jobs, which include cooking, sewing, cleaning, washing and everything else imaginable. Although she won’t be allowed to go to the ball herself, Cinderella is happy for the others. She always tries to be cheerful and never complains. Sometimes, however, she retreats to her “own little corner” and dreams of a more exciting life.

The Queen and King are not in complete agreement about the Prince’s ball (which should in fact be called the Queen’s ball, since it is entirely her idea). The King doesn’t want to have it at all, since it will be a great deal of trouble, a large expense, and why would a red-blooded boy want to get married in the first place? But the Queen has her heart set on it, and neither the King nor the Prince (who dreads the whole idea) can bear to disappoint her. The preparations continue.

On the night of the ball, Cinderella helps her Stepmother and Stepsisters get ready. After they leave, she sits alone in her corner and imagines what it might be like at the ball. She’s not alone for long, however, for her Fairy Godmother appear at the window. Despite this lady’s sensible looks and practical manner, she is no ordinary godmother, though Cinderella doesn’t suspect this. With help from the Godmother’s “fol-de-rol” and “fiddley dee,” Cinderella is magically transformed for the ball. Her carriage, changed from a pumpkin, drawn by horses that were mice a moment before, whisks her to the palace.

The ball is the ball that everyone remembers from their storybooks, and Cinderella is the most beautiful of Princesses. Does she captivate everyone at the palace? She does! Do she and the Prince fall in love? They do! Must she flee at midnight before her carriage changes back into a pumpkin? She must!

Before she escapes, Cinderella loses her slipper, which the Prince retrieves. It is his only clue to finding her again, and he mounts a search for the foot that fits the slipper. All efforts are in vain, however. Even at the Stepmother’s house, the Godmother’s efforts to intervene for Cinderella are fruitless for Cinderella is nowhere to be found.

Meanwhile, the Prince has been trying to convince his mother (and himself) that he is not in love with a dream, but with a real girl, even if she has disappeared. When his is told that no one can be found whose foot fits the slipper, he is shattered. In anger he tosses the slipper into the bushes.

Cinderella, who herself can hardly believe her memories of the ball, has returned to the palace garden, hoping to recapture the magic of the night before, if only in her mind. The Prince stops her, but hardly recognizes the vision of loveliness he danced with underneath Cinderella’s sooty clothes and dirty face. She is embarrassed to be seen by him and tries to leave. For a moment it looks as if the story will end unhappily as she walks away, but at the last moment the Prince thinks to try the slipper on her foot (after the Godmother retrieves it and places it next to him). And, of course, the slipper fits.

Almost immediately, the Royal Wedding begins. As the curtain falls on the happy couple, the Godmother reminds everyone that “Impossible things are happening every day.”

PRINCIPALS
6 Women
1 Man

FEATURED
2 Men

ENSEMBLE
Large singing-dancing ensemble of Villagers, Merchants, Maidens and Palace Guests

CHARACTERS:
Cinderella
Her Fairy Godmother
Her Stepmother
Grace – her awkward stepsister
Joy – her sullen stepsister
Christopher – a charming young prince
Lionel – his royal steward
Queen Constantina – his mother
King Maximillian – his father
Charles – a cat who will become a Coachman
4 White Mice – who will become Horses
A Dove – who will become a Footman

Villagers, Merchants, Maidens and Palace Guests

NOTE: In this show, the race of the characters is not pivotal to the plot. We encourage you to consider diversity and inclusion in your casting choices.

In this show, the race of the characters is not pivotal to the plot. We encourage you to consider diversity and inclusion in your casting choices.

  • Time Period 16th Century/Elizabethan, 17th Century, 15th Century
  • Setting

    Long ago in a kingdom far away.

  • Features Fantasy Costumes
  • Duration 120 minutes (2 hours)
  • Cautions
    • No Special Cautions

Media

“Emphasizes the inner magic of character, self-reliance and love.” – Caryn James, The New York Times

“The new version has a social conscience, with a multiracial cast and a feminist twist... this Cinderella uses special effects sparingly. It emphasizes the inner magic of character, self-reliance and love.” – Caryn James, The New York Times

“A lavish musical extravaganza... beautiful to behold... The original teleplay was rewritten and the lovely score was reorchestrated with contemporary instrumentation... And the Rodgers & Hammerstein score is a treat.” – Harlene Ellin, The Chicago Tribune

Cinderella taught me something revolutionary about the limitless nature of storytelling. That in stories, there are no constraints; the only limit is your imagination.” – R. Eric Thomas, Elle

ON BREAKING CHARACTER

Cinderella Through the Years
by Ted Chapin
July 22, 2020

Videos

  • “Impossible” – Rodgers and Hammerstein's Cinderella youtube thumbnail

    “Impossible” – Rodgers and Hammerstein's Cinderella

  • Rodgers and Hammerstein's Cinderella – Through Time and History youtube thumbnail

    Rodgers and Hammerstein's Cinderella – Through Time and History

  • Paolo Montalban sings “Ten Minutes Ago” youtube thumbnail

    Paolo Montalban sings “Ten Minutes Ago”

  • Aisha Jackson sings “A Lovely Night” youtube thumbnail

    Aisha Jackson sings “A Lovely Night”

Music

Music Samples

Act I

1. “Prologue” – Fairy Godmother, Cinderella and Ensemble
1a. “The Village” – Orchestra
2. “The Sweetest Sounds” – Cinderella and Christopher
3. “The Prince Is Giving A Ball” – Lionel, Christopher, Grace, Joy, Stepmother and Villagers
3a. Playoff: The Prince is Giving a Ball – Orchestra
4. “In My Own Little Corner” – Cinderella
4a. “Scene Change to Palace” – Orchestra
4b. “Royal Scroll” – Orchestra
5. “Boys and Girls Like You and Me” – King and Queen
6. “Reprise: The Sweetest Sounds” – Christopher and Cinderella
7. “Reprise: In My Own Little Corner” – Cinderella
8. “Fol-De-Rol” – Fairy Godmother
9. “Impossible” – Fairy Godmother and Cinderella

9a. “The Transformation” – Orchestra
10. “It's Possible - Finale Act 1” – Cinderella, Fairy Godmother, Animals and Off-Stage Ensemble

Act II

11. “Entr'Acte” – Orchestra
12. “Gavotte” – Orchestra
13. “Loneliness of Evening” – Christopher
14. “Cinderella Entrance and Waltz” – Orchestra
15. “Ten Minutes Ago” – Christopher, Cinderella and Company
15a. “Playoff Polka and Underscore” – Orchestra
16. “Stepsisters' Lament” – Grace and Joy
17. “Do I Love You Because You're Beautiful?” – Christopher and Cinderella
18. “Twelve O'Clock” – Orchestra
19. “Reprise: Do I Love You Because You're Beautiful?” – Christopher,King, Queen and Cinderella
20. “When You're Driving Through the Moonlight” – Cinderella, Stepmother, Grace and Joy
21. “A Lovely Night” – Cinderella, Stepmother, Grace, Joy, Animals and Off–Stage Women
22. “Reprise: A Lovely Night” – Cinderella

23. “The Search” – Orchestra
23a. “Manic Stepsisters Underscore” – Orchestra
23b “The Slipper Fits” – Orchestra 
24. “There's Music In You” – Fairy Godmother and Company
25. Curtain Call and Exit Music – Orchestra

1   Piano-Conductor (rehearsal & stick conductor)
1   Flute 1 – doubling Piccolo
1   Flute 2
1   Oboe  – doubling English Horn
1   Clarinet 1
1   Clarinet 2
1   Bassoon
1   Horn 1
1   Horn 2 
1   Horn 3
1   Trumpet 1
1   Trumpet 2
1   Trombone
1   Keyboard 1
1   Keyboard 2
1   Percussion – Trap Set, 2 Timpani, Orchestra Bells, Mark Tree, Chinese Bell Tree, Triangle, Crash Cymbal, Suspended Cymbal, Finger Cymbals, Wood Blocks (2 pitches), Temple Blocks (3 pitches), Drum Sticks & Brushes
2   Violin 1 (one or more players)
2   Violin 2 (one or more players)
2   Viola/Violin 3* (one or more players)
2   Cello (one or more players)
1   Bass


*The Viola/Violin 3 book is split 75% Viola/25% Violin 3. The part may be played completely on Viola with the player playing the Violin 3 parts on Viola. In some instances these will be in the higher range of the Viola, but are not unplayable.]

  • Musical Style Classic Broadway
  • Dance Requirements Easy
  • Vocal DemandsModerate
  • Orchestra Size X-Large
  • Chorus Size Large

Licensing & Materials

Music Rentals

Concord offers a full suite of resources to help you put on the show of a lifetime!

25   Vocal Book
1   Piano-Conductor (rehearsal & stick conductor)
1   Flute 1 – doubling Piccolo
1   Flute 2
1   Oboe  – doubling English Horn
1   Clarinet 1
1   Clarinet 2
1   Bassoon
1   Horn 1
1   Horn 2 
1   Horn 3
1   Trumpet 1
1   Trumpet 2
1   Trombone
1   Keyboard 1
1   Keyboard 2
1   Percussion – Trap Set, 2 Timpani, Orchestra Bells, Mark Tree, Chinese Bell Tree, Triangle, Crash Cymbal, Suspended Cymbal, Finger Cymbals, Wood Blocks (2 pitches), Temple Blocks (3 pitches), Drum Sticks & Brushes
2   Violin 1 (one or more players)
2   Violin 2 (one or more players)
2   Viola/Violin 3 (one or more players)
2   Cello (one or more players)
1   Bass

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Additional Material
A full score is available for this title for an additional fee. Please contact your licensing representative for additional information

25   Vocal Book
1   Piano-Conductor (rehearsal & performance)

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Authors

Richard Rodgers

Richard Rodgers' contribution to the musical theatre of his day was extraordinary, and his influence on the musical theatre of today and tomorrow is legendary. His career spanned more than six decades, his hits ranging from the silver screens of Hollywood to the bright light ...

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Oscar Hammerstein II

Oscar Hammerstein II was born on July 12, 1895 in New York City. His father, William, was a theatre manager and for many years director of Hammerstein's Victoria, the most popular vaudeville theatre of its day. His uncle, Arthur Hammerstein, was a successful Broadway producer ...

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Tom Briggs

Director of The R&H Theater Library (precursor to R&H Theatricals) for over a dozen years, Tom Briggs began his love affair with R&H as a youngster in Wisconsin, appearing in productions of Oklahoma! South Pacific and Carousel. His years as a young adult found him singing an ...

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Author

Robert L. Freedman

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