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AN R&H THEATRICALS TITLE
Rodgers & Hammerstein's Cinderella: Youth Edition
Short Musical, Comedy / 6w, 4m plus ensemble
Music by Richard Rodgers
Book and Lyrics by Oscar Hammerstein II
Image: 2019 Paper Mill Playhouse Production (Evan Zimmerman for MurphyMade)
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Cast Size
6w, 4m plus ensemble -
Duration
60 minutes (1 hour) -
Subgenre
Adaptation (Literature), Adaptation (Stage & Screen), Theatre for Young Audiences, Fable/Folktale, Period, Romantic Comedy -
Target Audience
Appropriate for All Audiences
Accolades
- Nominee: Nine 2013 Tony Awards, including Best Book of a Musical and Best Revival of a Musical
Winner! 2013 Tony Award for Best Costume Design for a Musical
Winner! Three 2013 Drama Desk Awards, including Outstanding Orchestrations
Details
Summary
Note: In addition to this 60-minute edition, three full-length 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 enthralling fairy tale still warms the hearts of children and adults alike.
In this specially created Youth Edition, all the beloved songs and familiar characters are present and accounted for. However, the entire script has been condensed to better suit young attention spans, and the plot has been slightly altered to highlight some important lessons for contemporary audiences.
History
In 1956 Richard Rodgers and Oscar Hammerstein II were indisputably the world’s most successful writers of musicals. Julie Andrews was a sparkling new star, having just triumphed in My Fair Lady. When her agent approached Rodgers and Hammerstein and suggested that the television audience would welcome a musical version of "Cinderella," it was an irresistible temptation for all.
Everything about the project was right from the start. The CBS production team was quickly assembled. Richard Lewine, a distant cousin of Rodgers and a close friend, was the producer, Ralph Nelson the director. Howard Lindsay and his wife, Dorothy Stickney, were signed for the King and Queen; Jon Cypher played the Prince; the Stepmother and Stepsisters were made less frightening and more comic by Ilka Chase, Kaye Ballard and Alice Ghostley; rather than the standard old crone, the beautiful Edi Adams played the Godmother.
Rodgers & Hammerstein approached the story with the honesty and simplicity that characterized all their work. They purposely did not seek to improve a story they felt was dramatically sound, as many writers are prone to do, instead concentrating on bringing the characters to life. Rodgers wrote in his autobiography Musical Stages, “In writing the story and the songs, Oscar and I felt that it was important to keep everything as traditional as possible, without any ‘modernizing’ or reaching for psychological significance.” When Hammerstein was asked where he found the version of Cinderella story he based his adaptation upon, he answered, “I looked it up in the encyclopedia.”
The marriage of music, lyrics and story in Cinderella exemplified their artistic philosophy; all elements held together integrally to illuminate the characters. As Rodgers explained, “Although a few of its songs have become popular, our score for Cinderella is another example of what theatre music is really about. No matter what the medium, a score is more than a collection of individual songs. It is, or should be, a cohesive entity whose word and music are believable expressions of the characters singing them...Like a symphony, concerto or opera, some portions have greater appeal than others, but it is the work as a whole that makes the overall impression.”
Cinderella succeeded. When it was broadcast on March 31, 1957, it was viewed by more people than any other program in the history of television.
Cast Attributes
- Time Period 16th Century/Elizabethan, 17th Century, 15th Century
- Setting Long ago in a kingdom far away.
- Features Fantasy Costumes, Period Costumes
- Duration 60 minutes (1 hour)
- Cautions
- No Special Cautions
Media
“You want magic? Wait until you see Cinderella!” – Marilyn Stasio, Variety
“A major new musical... produced with characteristic skill, dexterity and lilt. The whole was a love story of often enormous charm... Rodgers and Hammerstein have not lost their knack for the lyrics and beat that are easy to remember.” – Jack Gould, The New York Times
“It would take a jaded eye to miss the magic and a deaf ear not to appreciate Richard Rodgers' lilting, lovely tunes and Oscar Hammerstein's simple and poetic lyrics.” – Joan Crosby, The Pittsburgh Press
“A class production all the way, Cinderella is a straight telling of the fairy tale with several catchy songs...Writer/lyricist Hammerstein gives the characters personality but doesn't spoof the story or send anything up, which is a refreshing change from today's anything-for-a-laugh comedy writing.” – Glenn Erickson, DVD Talk
ON BREAKING CHARACTER
Cinderella Through the Years
by Ted Chapin
July 22, 2020
Videos
“It's Possible” – Rodgers and Hammerstein's Cinderella: Youth Edition
2013 Tony Award Show Clips: Cinderella
“In My Own Little Corner” from Rodgers and Hammerstein's Cinderella
The Musicology of “Ten Minutes Ago”
Music
- Musical Style Classic Broadway
- Dance Requirements Easy
- Chorus Size Medium
Licensing & Materials
- PLEASE BE ADVISED: There are multiple versions of this title. Before you proceed, please double-check to ensure that you are applying for the version you want.We will not be able to refund rental or shipping fees if you pay for the wrong version.
RODGERS + HAMMERSTEIN’S CINDERELLA (BROADWAY) has two orchestral packages, one from the Broadway production and one from the tour. The orchestrations are significantly different, so please choose carefully.
For additional information regarding the various versions, see A Guide to Rodgers & Hammerstein’s Cinderella in Breaking Character.
If you’re still not sure which version best suits your needs, you may purchase a perusal for each available version.
RODGERS & HAMMERSTEIN’S CINDERELLA (ORIGINAL)
RODGERS + HAMMERSTEIN’S CINDERELLA (BROADWAY)
RODGERS & HAMMERSTEIN’S CINDERELLA (ENCHANTED)
RODGERS & HAMMERSTEIN’S CINDERELLA (YOUTH EDITION)