Musical (1957)

Musique: Richard Rodgers
Paroles: Oscar Hammerstein II
Livret: Oscar Hammerstein II
Production à la création:

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, the hearts of children and adults alike still soar when the slipper fits.

Acte I
In the village square, a Herald proclaims: The Prince Is Giving a Ball to celebrate the Prince's 21st birthday. The ladies of the kingdom are thrilled at the prospect of meeting him. Cinderella, whose beloved father has died, takes care of the home of her ill-tempered and selfish stepmother and stepsisters. She carries all of their shopping parcels for them, and when they return home, all three order Cinderella about. Left alone in her corner near the fire, she dreams of living an exotic life as a princess or anything other than a servant (In My Own Little Corner). Meanwhile, the King and Queen get ready for the big celebration (Royal Dressing Room Scene) and the servants discuss the planning for the feast (Your Majesties). They hope that their son will find a suitable bride, but the Prince is a bit apprehensive about meeting all the eager women of the kingdom. The Queen is touched by overhearing the King's discussion with his son and tells him she loves him (Boys and Girls Like You and Me [sometimes omitted, and not sung in any of the telecasts]).

As Cinderella's stepsisters get ready for the Ball, hoping that they will catch the Prince's eye, they laugh at Cinderella's dreams. Finally they leave, and Cinderella imagines having gone with them (In My Own Little Corner (reprise)). Cinderella's Fairy Godmother appears and, persuaded by the fervor of Cinderella's wish to go to the Ball, she transforms Cinderella into a beautifully gowned young lady and her little mouse friends and a pumpkin into a glittering carriage with impressive footmen (Impossible; It's Possible) and she leaves for the Ball.

Acte II
Cinderella arrives at the palace at 11:30; before she enters, her Godmother warns her not to stay past midnight. The Prince has been bored by the attention of all the young ladies with whom he has had to dance, including the stepsisters. Cinderella's grand entrance immediately attracts everyone's attention and intrigues the Prince. They dance together and instantly fall in love (Ten Minutes Ago). Seeing the Prince with a petite beauty (whom they do not recognize), the stepsisters ask why he wouldn't prefer a substantial "usual" girl like them (Stepsisters' Lament). The Prince and Cinderella dance and find themselves with a private moment, and he declares his love for her (Do I Love You Because You're Beautiful?). As they share a kiss, the clock begins to strike midnight, and Cinderella flees before the magic wears off; but in her haste, she drops a glass slipper.

Acte III
The next morning, Cinderella's stepmother and stepsisters reminisce about the Ball and find that Cinderella is very intuitive about what it must have been like going to the Ball (When You're Driving Through the Moonlight) and dancing with the Prince (A Lovely Night). Meanwhile, the Prince is searching for the beauty with whom he danced, and who fled so quickly from the Ball. His Herald tries the slipper on all the ladies (The Search). At Cinderella's house, the slipper will not fit any of the ladies. Everyone tries to steer the Prince away from the servant girl, Cinderella, but she is not home; she is in the Palace garden. The prince returns to the Palace dejected by his lack of success. Prodded by the fairy godmother, his Herald tries the slipper on Cinderella. It fits, and the prince recognizes his beloved (Do I Love You Because You're Beautiful? (reprise)). Cinderella and the Prince marry, and all ends happily.

01. Original Version [1957]
02. Stage Version [1958] : Prepared for the 1958 London Production
03. Television Version [i] [1965] : Prepared for the 1965 Television Adaptation
04. Television Version [ii] [1997] : Prepared for the 1997 Television Version
05. Enchanted Edition [2000] : Based on the 1997 Television Production
06. Beane Version [2011] : Prepared for a 2012 Broadway Production

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 audience in the history of the planet at the time: 107,000,000 people in the USA, representing 60% of the country’s population at that time, and another 10,000,000 or so stretching from Canada to Cuba. It was an Event, a golden moment in the Golden Age of television. In an era when Broadway still commanded attention, this was a Broadway-caliber musical by Broadway’s most successful duo, starring Broadway’s brightest new talent. Broadcast night was opening night, and everyone in America was invited to attend.

In 1956 Richard Rodgers and Oscar Hammerstein 2nd 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 and 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 exemplifies their artistic philosophy that seemed so revolutionary in OKLAHOMA! and so natural with their latest show, THE SOUND OF MUSIC that it had become the form of most musicals. 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. 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—her sense of humor, her naïve optimism, her imagination and her relationship to the rest of her family. It is 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 a score, and it is the score in toto that either succeeds or fails. 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 in toto succeeded. When it was broadcast on March 31, 1957, it was viewed by more people than any other program in the history of television.

Acte I
"Overture" (instrumental)
"The Prince Is Giving a Ball" (Herald and Chorus)
"Cinderella March" (instrumental)
"In My Own Little Corner" (Cinderella)
"The Prince Is Giving a Ball" (Reprise) (Chorus)
"Your Majesties" (Royal Dressing Room Scene) (King, Queen, Chef, Steward)
"In My Own Little Corner" (Reprise) (Cinderella)
"Impossible; It's Possible" (Cinderella and Fairy Godmother)

Acte II
"Gavotte" (instrumental)
"Ten Minutes Ago I Saw You" (Prince and Cinderella)
"Stepsisters' Lament" (Stepsisters)
"Waltz for a Ball" (instrumental and Chorus)
"Do I Love You Because You're Beautiful?" (Prince and Cinderella)
"Never In a Thousand Years" (eventually omitted from the production)

Acte III
"When You're Driving Through the Moonlight" (Cinderella, Stepmother, Stepsisters)
"A Lovely Night" (Cinderella, Stepmother, Stepsisters)
"The Search" (instrumental)
"Do I Love You Because You're Beautiful?" (reprise) (Prince)
"Wedding" (instrumental)
"Do I Love You Because You're Beautiful?" (reprise) (Chorus)


  Background on Rodgers & Hammerstein’s Cinderella   

Aucun dossier informatif complémentaire concernant Cinderella

Version 1

Cinderella (1957-03-CBS TV) Julie Andrews

Type de série: Original
Théâtre: *** TV (*** - ***)

Durée :
Nombre : 1 représentations
Première Preview : 31 March 1957
Première: 31 March 1957
Dernière: 31 March 1957
Mise en scène : Ralph Nelson
Chorégraphie : Jonathan Lucas
Producteur :
Avec : Cinderella … Julie Andrews
The King … Howard Lindsay
The Queen … Dorothy Stickney
The Stepmother … Ilka Chase
Stepsister Portia … Kaye Ballard
Stepsister Joy … Alice Ghostley
Fairy Godmother … Edith Adams
Prince Christopher … Jon Cypher
Town Crier … Robert Penn
The Captain of the Guard … Alexander Clark

Version 2

Cinderella (1958-12-London Coliseum-London) Yanna

Type de série: Revival
Théâtre: Coliseum Theatre (Londres - Angleterre)
Durée :
Nombre :
Première Preview : 18 December 1958
Première: 18 December 1958
Dernière: Inconnu
Mise en scène :
Chorégraphie :
Producteur :
Avec : Avec: Ted Durante, Jimmy Edwards, Enid Lowe, Betty Marsden, Robin Palmer, Tommy Steele, Bruce Trent, Kenneth Williams, Yana

Version 3

Cinderella (1965-02-CBS TV) Lesley Ann Warren

Type de série: Revival
Théâtre: *** TV (*** - ***)
Durée :
Nombre : 1 représentations
Première Preview : 22 February 1965
Première: 22 February 1965
Dernière: 22 February 1965
Mise en scène : Charles S. Dubin
Chorégraphie : Eugene Loring
Producteur :
Avec : Cinderella … Lesley Ann Warren
The Queen … Ginger Rogers
The King … Walter Pidgeon
Fairy Godmother … Celeste Holm
The Stepmother … Jo Van Fleet
The Prince … Stuart Damon
Prunella … Pat Carroll
Esmerelda … Barbara Ruick
The Herald … Don Heitgerd
Commentaires longs: After its success as a stage production, the network decided another television version of Cinderella was needed. The 1957 premiere had been broadcast before videotape had been perfected, so only one performance could be shown. CBS mounted another production in 1965 with Richard Rodgers as Executive Producer. This re-make did not use the original script, but instead a new one closer to the traditional tale commissioned by Rodgers (Hammerstein had died in 1960) and written by Joseph Schrank, although nearly all of the original songs were retained and sung in their original settings. A new sequence opens the story, in which the Prince stops at Cinderella's house with his retinue for a drink of water after returning from his travels. Cinderella, home alone, and not knowing who the handsome traveler is until a page utters the words "Your Highness", kindly gives the Prince water from the well. Shortly afterwards, the Prince sings "Loneliness of Evening", which had been composed for South Pacific in 1949 but not sung in that musical. Cinderella sings In My Own Little Corner before there is any mention of the prince giving a ball. The names of the stepsisters were also changed from the original production, and the Royal Dressing Room Scene was omitted.

Version 4

Cinderella (1993-11-New York City Opera-New York)

Type de série: Revival
Théâtre: New York City Opera (New-York - Etats-Unis)
Durée : 1 semaine
Nombre : 14 représentations
Première Preview : 09 November 1993
Première: 09 November 1993
Dernière: 21 November 1993
Mise en scène :
Chorégraphie :
Producteur :

Version 5

Cinderella (1995-11-New York City Opera-Neaw York)

Type de série: Revival
Théâtre: New York City Center (Broadway - Etats-Unis)
Durée :
Nombre :
Première Preview : 15 November 1995
Première: 15 November 1995
Dernière: Inconnu
Mise en scène :
Chorégraphie :
Producteur :

Version 6

Cinderella (1997-11-ABC TV) Brandy

Type de série: Revival
Théâtre: *** TV (*** - ***)
Durée :
Nombre : 1 représentations
Première Preview : 02 November 1997
Première: 02 November 1997
Dernière: 02 November 1997
Mise en scène : Robert Iscove
Chorégraphie : Rob Marshall
Producteur :
Avec : Cinderella … Brandy
The Stepmother … Bernadette Peters
Calliope … Veanne Cox
Minerva … Natalie Desselle
Prince Christopher … Paolo Montalban
Lionel … Jason Alexander
Queen Constantina … Whoopi Goldberg
King Maximillian … Victor Garber
Fairy Godmother … Whitney Houston
The Coachman … Michael Haynes
Commentaires longs: When Whitney Houston signed on to the film, she was listed as producer and in the role of Cinderella. However, she later asked Brandy to audition for the role of Cinderella, saying "I'm already 33 years old, and I want you to play Cinderella". Brandy only agreed to do the part if Houston played her fairy godmother, because she was her "idol".[9] Changes to the Hammerstein plot in this version include the following: The Fairy Godmother begins the story, explaining that nothing is impossible. Disguised as a peasant, the Prince (feeling isolated in the castle) wanders in the marketplace (worrying his herald, Lionel), meets Cinderella, and they find each other charming. At the ball, embarrassed by questions about her family and background, Cinderella escapes to the garden in tears, where the Fairy Godmother appears for moral support. After her stepmother returns from the ball and is particularly cruel, Cinderella packs her belongings to run away from home. Her Fairy Godmother advises her to share her feelings with the Prince. After trying the slipper on all the other maidens, the Prince and Lionel overtake Cinderella on her journey to freedom. Meeting her gaze, the Prince recognizes her and places the slipper on her foot. At their wedding, the Fairy Godmother blesses the couple.

Version 7

Cinderella (2004-11-New York City Opera-Neaw York) Sarah Uriarte Berry

Type de série: Revival
Théâtre: New York City Center (Broadway - Etats-Unis)
Durée : 1 semaine
Nombre :
Première Preview : 12 November 2004
Première: 12 November 2004
Dernière: 12 November 2004
Mise en scène :
Chorégraphie :
Producteur :

Version 8

Cinderella (2004-12-??-Nederland)

Type de série: Revival
Théâtre: *** Inconnu (*** - ***)
Durée :
Nombre :
Première Preview : Inconnu
Première: Inconnu
Dernière: Inconnu
Mise en scène : ???? ????
Chorégraphie : ???? ????
Producteur :
Commentaires longs: Van december 2004 tot en met juni 2006 stond de musicalbroadwayversie
Cinderella van Rodgers & Hammerstein II als Nederlandstalige versie
Assepoester 65 keer in vrijvvel uitverkochte middelgrote en grote theaters op
de planken vvaarbij 99 kinderen van 8 tot 18 jaar verdeeld over 3
spelersgroepen optraden. Hoewel spektakel en effecten niet ontbraken, lag
het accent van de productie op de dramatische component, en de kwaliteit
van de acteerprestaties. Het verhaal volgde de oorspronkelijke verhaallijn van
het sprookje van Assepoester. Het publiek komt in een betoverende wereld
vvaar echte en oprechte liefde uiteindelijk het verdriet en onrecht overwint en
het verschil in rang en stand overbrugt.

Version 9

Cinderella (2005-10-Paper Mill Playhouse-Milburn)

Type de série: Revival
Théâtre: Paper Mill Playhouse (Milburn - Etats-Unis)
Durée : 1 mois 2 semaines
Nombre :
Première Preview : 19 October 2005
Première: 19 October 2005
Dernière: 04 December 2005
Mise en scène : Gabriel Barre
Chorégraphie : Jennifer Paulson Lee
Producteur :
Avec : Cinderella … Angela Gaylor
Prince Charming … Paolo Montalban
Joy … Jennifer Cody
Fairy Godmother … Suzzanne Douglas
Queen Constantina … Joy Franz
King Maximillian … Larry Keith
Wicked Stepmother … Nora Mae Lyng
Lionel … Stanley Wayne Mathis
Grace … Janelle Anne Robinson
Ensemble … Lauren Brim

Version 10

Cinderella (2007-11-Theater de Efteling-Efteling)

Type de série: Revival
Théâtre: Theater de Efteling (Efteling - Pays-Bas)
Durée : 3 mois 1 semaine
Nombre :
Première Preview : 19 November 2007
Première: 19 November 2007
Dernière: 01 March 2008
Mise en scène : ???? ????
Chorégraphie : ???? ????
Producteur :

Version 11

Cinderella (2008-07-World Tour) Lea Salonga

Type de série: Revival
Théâtre: World Tour (*** - ***)
Durée :
Nombre :
Première Preview : 29 July 2008
Première: 29 July 2008
Dernière: Inconnu
Mise en scène : Bobby Garcia
Chorégraphie : Vincent Pesce
Producteur :
Avec : Cinderella … Lea Salonga
Prince Christopher … Peter Saide
Fairy Godmother … Charlie Parker
The Stepmother … Julia Cook
Portia … Jen Bechter
Joy … Brandy Zarle
The King … Jefferson Slinkard
The Queen … Janna Cardia
The Herald … Aaron Galligan-Stierle
Ensemble … Abby Baum

Version 12

Cinderella (2016-10-Rossiya Theatre-Moscou)

Type de série: Revival
Théâtre: Rossiya Theatre (Moscou - Russie)
Durée : 7 mois
Nombre :
Première Preview : 01 October 2016
Première: 01 October 2016
Dernière: 30 April 2017
Mise en scène : Alexei Ivashchenko
Chorégraphie :
Producteur :
Avec : Yulia Iva (Cinderella), Natalia Bystrova (Cinderella), Tatiana Kulakova (Charlotte), Elena Melenteva (Charlotte), Ekaterina Varkova (Gabriella), Yulia Iva (Gabriella), Elena Charkviani (Fairy Godmother), Igor Portnoy (Lord Pinkelton), Petr Tarenkov (Lord Pinkelton), Pavel Levkin (Topher), Igor Krol (Topher), Roman Aptekar (Jean-Michael), Oleg Savzov (Jean-Michael), Elena Charkvianie (Marie), Anna Guchenkova (Marie), Irina Lindt (Marie), Alena Hmelnizkaya (Madame), Lika Rulla (Madame), Marina Ivanova (Madame), Petr Tarenkov (Sebastian), Anton Ushakov (Sebastian)

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