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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
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Show History
By today’s standards, it is almost impossible to conceive. The broadcast of Rodgers & Hammerstein’s CINDERELLA starring Julie Andrews on CBS-TV, March 31, 1957, was seen by the largest
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Awards
1998 Emmy Awards- Award for Outstanding Art Direction for a Variety or Music Program
- 7 Nominations
1958 Grammy Awards- 2 Nominations including Best Musical Contribution for Television (Richard Rodgers)
Articles & Interviews
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Critic Quotes
"CINDERELLA's magic triumphs...The score is as enchanting as ever!"
New York Daily News, 2001
"Gossamer and magic! The score soars...CINDERELLA is a good show for kids."
New York Post, 2001
"CINDERELLA is a thorough, total delight, full to overflowing with magic and romance."
Associated Press, 1993
"There is magic in what they did, as though a fairy's wand has touched it all and made it sing and shine."
New York Daily Mirror, 1957
"R&H songs are forever in fashion...The musical tale of the glass-slippered gal is as timeless as ever."
Entertainment Weekly, 2002
"CINDERELLA sparkles! The Rodgers and Hammerstein score is delightful."
TV Guide, 1997
Facts & Figures
- Rodgers and Hammerstein's only musical for television, CINDERELLA starring Julie Andrews, is broadcast live on CBS-TV before an estimated audience of 107 million.
- December 18, 1958 The stage premiere of Rodgers & Hammerstein's television musical CINDERLLA is presented by Harold Fielding at London's Coliseum in the style of a traditional English pantomime with Tommy Steeles the star.
- February 22, 1965 A television remake of CINDERELLA starring Lesley Ann Warren premieres on the CBS-TV network; it is broadcast eight more times through February 3, 1974.
Musical Numbers
Impossible (The Fairy Godmother and Cinderella)
resources/Audios/41512_1359_06.mp3
Impossible (The Fairy Godmother and Cinderella)
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 1. Prologue (The Fairy Godmother, Cinderella and the Ensemble)
 2. The Sweetest Sounds (The Fairy Godmother, Cinderella and the Ensemble)
3. The Prince Is Giving A Ball (Lionel, the Stepfamily, Cinderella and the Villagers)
4. In My Own Little Corner (Cinderella and the Animals)
5. Boys And Girls Like You And Me (Cinderella and the Animals)
6. Reprise:The Sweetest Sounds (Cinderella and the Animals)
7. Fol-De-Rol (Cinderella and the Animals)
8. Impossible (The Fairy Godmother and Cinderella)
9. The Transformation (The Fairy Godmother and Cinderella)
10. It's Possible - Finale Act 1 (The Fairy Godmother and Cinderella)
11. Entr'Acte (The Fairy Godmother and Cinderella)
12. Gavotte (Christopher, the Maidens and Other Guests)
13. Loneliness ofEvening (Christopher, the Maidens and Other Guests)
14. The Cinderella Waltz (Christopher, the Maidens and Other Guests)
15. Ten Minutes Ago (Christopher, Cinderella and the Company)
16. Stepsister's Lament (Grace and Joy)
17. Do I Love You Because You're Beautiful? (Christopher and Cinderella)
18. When You're Driving Through The Moonlight (Cinderella, Stepmother, Grace and Joy)
19. A Lovely Night (Cinderella, the Stepmother, Grace, Joy and the Animals)
20. Reprise: A Lovely Night (Cinderella, the Stepmother, Grace, Joy and the Animals)
21. The Search (Lionel, Christopher and the Maidens)
22. There's Music In You (Lionel, Christopher and the Maidens)
Discography
| 1. |
Cinderella [1957 Original Television Cast]
Label: Sony Classical
Release date: January 1, 1999
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Rental Materials
| REHEARSAL SET (22 BOOKS, 1 Logo CD) |
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20 LIBRETTO-VOCAL BOOK
| 1 Logo CD
| 2 PIANO CONDUCTOR SCORE
| | | | ORCHESTRATION (21 BOOKS) |
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1 PIANO CONDUCTOR SCORE
| 1 BASS (acoustic stand up bass)
| 1 PERCUSSION: Doubling 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
| 1 FLUTE I (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 I (Synth)
| 1 KEYBOARD II (Synth)
| 1 VIOLIN I (one or more players)
| 1 VIOLIN II (one or more players)
| 1 VIOLA/VIOLIN III (one or more players)
[THE VIOLA/VIOLIN III book is split 75% Viola/25%Violin III. The part may be played completely on Viola with the player playing the Violin III parts on Viola. In some instances these will be in the higher range of the viola, but are not unplayable.]
| 1 CELLO (one or more players)
| | | | PRE-PRODUCTION PACKAGE |
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1 LIBRETTO-VOCAL BOOK
| 1 PIANO CONDUCTOR SCORE
| | | | LIBRETTO-VOCAL 10-PACK |
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10 LIBRETTO-VOCAL BOOK
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Writer's Notes
Richard Rodgers, Musical StagesThough a few of its songs have become popular, our score for CINDERELLA is another example of what theatre music is really all 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 words and music are believable expressions of the characters singing them. When the lonely, bullied heroine sings, 'In My Own Little Corner,' it's not merely a song, it's a revelation of the girl herself. When she finishes, we know something more about her than we had before$mdash;her sense of humor, her naive optimism, her imagination and her relationship to the rest of her family. It's fair to say that this song is familiar to a vast number of people, but it has never made anyone's hit parade and never will; it is simply part of the score. 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. 1957, Oscar Hammerstein II, Saturday Reviewp>We want the kids who see it to recognize the story they know. Children can be very critical on that score. But, of course, their parents will be watching, too, so we have tried to humanize the characters without altering the familiar plot structure. As you may know, I'm not one for writing stories about poor little girls who suddenly win fame and happiness at the stroke of a magic wand. I think I helped explode the notion that success comes through luck in ME AND JULIET in which the stage-struck innocent never makes the grade in the theatre. So in CINDERELLA I have de-emphasized the 'fairy' aspect of the godmother, and have simply presented her as a matter-of-fact woman with a sense of humor who incidentally has magical powers. In her first scene with Cinderella she even tries to talk the girl out of her wild idea of going to the ball. But it's Cinderella's innocent faith in a miracle, which she expresses in the song 'Impossible,' that finally wins the godmother over to granting her wish. from "Cinderella on a Coaxial Cable"
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