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Musical by Rodgers and Hammerstein
the 1957 Rodgers and Hammerstein musical

Rodgers and Hammerstein's Cinderella is a musical written for television, but later played on stage, with music by Richard Rodgers and a book and lyrics by Oscar Hammerstein II. It is based upon the fairy tale Cinderella, particularly the French version Cendrillon, ou la petite pantoufle de verre ("Cinderella, or The Little Glass Slipper"), by Charles Perrault. The story concerns a young woman forced into a life of servitude by her cruel stepmother and self centered stepsisters, who dreams of a better life. With the help of her fairy godmother, Cinderella is transformed into a princess and finds her prince. Cinderella is the only Rodgers and Hammerstein musical written for television. It was originally broadcast live in color on CBS on March 31, 1957, as a vehicle for Julie Andrews, who played the title role. The broadcast was viewed by more than 100 million people. It was subsequently remade for television twice, in 1965 and 1997. The 1965 version starred Lesley Ann Warren and Stuart Damon. The 1997 version starred Brandy Norwood in the title role, with Whitney Houston as the fairy godmother. Both remakes add songs from other Richard Rodgers musicals. The musical has been adapted for the stage in a number of versions, including a London West End pantomime adaptation, a New York City Opera production that follows the original television version closely, and various touring productions. A 2013 adaptation on Broadway starred Laura Osnes and Santino Fontana, with a new book by Douglas Carter Beane.

The original 1957 broadcast was directed by Nelson with choreography by Lucas and musical direction by Antonini. It starred Andrews in the title role and Jon Cypher as The Prince. It also featured Howard Lindsay as The King, Dorothy Stickney as The Queen, Edie Adams as the Fairy Godmother, Kaye Ballard and Alice Ghostley as stepsisters Portia and Joy, Ilka Chase as the Stepmother, and Iggie Wolfington as The Steward. Joe Layton appeared uncredited in the ensemble. On March 31, 1957, at 8:00 pm Eastern time, Cinderella was broadcast live in the Eastern, Central and Mountain time zones in both black and white and compatible color; the West Coast received a delayed black and white only broadcast starting at 8:00 pm Pacific time. Beyond the United States, it was carried by CBS affiliates in the U. S. territories of Alaska, Hawaii and Puerto Rico; in Canada it was broadcast on CBC. It was produced for $376,000 and was heavily promoted by its sponsors, Pepsi Cola and the Shulton Company (then maker of Old Spice). More than 107 million viewers saw the broadcast, and Andrews was nominated for an Emmy Award for her performance. One of the four color TV cameras failed during the live telecast, adding to the production's technical difficulties. A black and white kinescope of the March 17, 1957, dress rehearsal survives (it was thought discarded, but was rediscovered in 2002) and has been issued on DVD. A similar film of the original CBS broadcast also survives and has been issued on DVD. There is no evidence that Cinderella was recorded on videotape, which CBS used at that time only to time delay news programming for the stations on the West Coast. The equipment was not yet capable of recording color video.

After the musical's success in London and elsewhere as a stage production, the network decided to produce another television version. The 1957 premiere had been broadcast before color videotape was available, so only one performance could be shown. CBS mounted a new production in 1965, with Richard Rodgers as Executive Producer and written by Joseph Schrank. The new script hewed closer to the traditional tale, although nearly all of the original songs were retained and sung in their original settings. A new sequence opens the story: 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. After the Prince leaves, he sings "Loneliness of Evening", which had been composed for South Pacific in 1949 but not used 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 changed from the original production, and the Royal Dressing Room Scene was omitted. The film also features rare on camera appearances by dubbers Betty Noyes and Bill Lee, who play a couple that briefly sing about their daughter (played by Trudi Ames). The first broadcast was on February 22, 1965, and it was rebroadcast eight times through February 1974.

The 1997 television remake was 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, it aired November 2, 1997. The racially diverse cast included Brandy Norwood as Cinderella, Whitney Houston as Cinderella's fairy godmother, Bernadette Peters as Cinderella's stepmother, Paolo Montalban as the prince, Whoopi Goldberg as the queen, Victor Garber as the king and Jason Alexander as the herald Lionel. Several songs were added, including "Falling in Love with Love" from the musical The Boys from Syracuse, sung by the Stepmother; "The Sweetest Sounds" from the musical 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. Several changes were made to the Hammerstein plot: The Fairy Godmother begins the story, explaining that nothing is impossible. The stepsisters' names are changed to Calliope and Minerva. 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.

The musical was first performed on stage at the London Coliseum in 1958 in holiday pantomime adaptation that also used songs from Me & Juliet. Harold Fielding produced this version, which opened on December 18, 1958, and played through the holiday season. Stage versions began to appear in U. S. theaters by 1961. The New York City Opera produced the musical in 1993 and 1995 with Sally Ann Howes as The Fairy Godmother, Crista Moore as Cinderella, George Dvorsky as The Prince, Nancy Marchand (1993) and Jean Stapleton (1995) as The Stepmother, George S. Irving as The King and Jane Powell as The Queen. It revived the production in 2004 with Eartha Kitt as The Fairy Godmother, Sarah Uriarte Berry as Cinderella, Christopher Sieber as The Prince, John "Lypsinka" Epperson as The Stepmother, Dick Van Patten as The King, Renée Taylor as The Queen, Lea DeLaria as Joy and Ana Gasteyer as Portia. A United States tour played from November 2000 through 2001 and starred Kitt as the Fairy Godmother, Deborah Gibson and later Jamie Lynn Sigler and Jessica Rush as Cinderella, Paolo Montalban as the Prince, and a gender bending Everett Quinton as the Stepmother, stopping at the Theater at Madison Square Garden in 2001, where Sigler played the title role. A 30 week Asian tour of Cinderella starred Lea Salonga and Australian Peter Saide. The production was directed by Bobby Garcia, with choreography by Vince Pesce. Costume design was by Renato Balestra, with sets by David Gallo. The tour started in Manila, Philippines, on July 29, 2008. The show then went on to several cities in China, including Xian, Zhengzhou, Chongqing, Shenzhen, Gunagzhou, Shanghai, Beijing and Hong Kong. It then toured in Thailand, Singapore, Malaysia, Korea, and Japan. A cast album was issued in 2008. An all female production of the musical in Japan in 2008 featured J Pop group Morning Musume and veteran members of the Takarazuka Revue. The production ran throughout August 2008, at Shinjuku Koma Theater in Tokyo. The lead roles of Cinderella and the Prince were performed by Morning Musume members Ai Takahashi and Risa Niigaki.

Douglas Carter Beane wrote a new book for the musical's first Broadway production. In his plot, Cinderella opens Prince Topher's eyes to the injustice in the kingdom. The prince's parents have died, leaving the kingdom in the hands of a villainous minister who has been the prince's mentor and has duped his young charge into approving oppressive legislation. The rebel Jean Michel, a new character, and stepsister Gabrielle are in love and seek to overthrow the government. The score includes the best known songs from the original version and four more songs from the Rodgers and Hammerstein catalogue. The show, produced by Robyn Goodman, began previews on Broadway on January 25 and officially opened on March 3, 2013, at the Broadway Theatre. Mark Brokaw directed the production, with Josh Rhodes choreographing, and the cast included Laura Osnes in the title role, Santino Fontana as the Prince, Victoria Clark as crazy Marie/the Fairy Godmother, Harriet Harris as Ella's stepmother, Peter Bartlett as the Prime Minister, Ann Harada and Marla Mindelle as stepsisters Charlotte and Gabrielle, and Greg Hildreth as Jean Michel. Designers included Anna Louizos (sets), William Ivey Long (costumes) and Kenneth Posner (lighting). The production was nominated for nine Tony Awards, winning one for Long's costume design. Reviews were mixed, with most critics praising Osnes's performance. Keke Palmer was a replacement in the title role. A report in The Guardian commented that "casting an African American actor as such an iconic – and typically pale – character is emblematic of the progress Broadway is making, slowly and haltingly, in employing actors of color in a broader array of parts." In September 2014, Lesley Ann Warren joined the cast during the curtain call to celebrate the 50th anniversary release of her 1965 television version. The production closed on Broadway on January 3, 2015, after 41 previews and 770 regular performances. National tours and international productions have followed.

The 1957 version of Cinderella was seen by the largest audience in history at the time of its premiere: 107,000,000 people in the US: fully 60% of the country's population at that time. Variety estimated that 24.2 million households were tuned into the show, with an average of 4.43 viewers each. Jon Cypher later remembered leaving the studio a few minutes after the broadcast had ended and finding the Manhattan streets deserted because so many had stayed in to watch the broadcast. The 1965 version was broadcast repeatedly. The 1997 production was the number one show of the week, with over 60 million viewers. It became the highest rated TV musical in a generation. Although it was a hit with audiences, it received mixed reviews. Theater historian John Kenrick called it a "clumsy remake" of the musical but commented that Bernadette Peters' "shtick trying on the glass slipper is hilarious". The New York Times praised the performers (Montalban has "an old fashioned luxurious voice"; Jason Alexander "provides comic relief"; Goldberg "winningly blends royal dignity with motherly meddling"; Peters "brings vigor and sly comedy") but commented that the musical "was always a pumpkin that never turned into a glittering coach  the songs are lesser Rodgers and Hammerstein  it doesn't take that final leap into pure magic. Often charming and sometimes ordinary, this is a cobbled together Cinderella for the moment, not the ages." Other critics, however, praised the presentation. One reviewer wrote: "Grade: A, a version both timely and timeless." Another agreed: "this version has much to recommend it." An encore broadcast on Valentine's Night 1998 drew another 15,000,000 viewers. Ben Brantley of The New York Times called the 2013 Broadway production a "glittery patchwork of a show" that "wants to be reassuringly old fashioned and refreshingly irreverent, sentimental and snarky, sincere and ironic, all at once." Brantley felt that the show "doesn't seem to know quite what" it wants to be. Richard Zoglin, writing for Time magazine, noted that the new production is "brightly colored, high spirited and well sung", but compared it unfavorably with the "emotionally alive" 1957 broadcast. A reviewer from the Chicago Tribune wrote: "The fundamental problem with  Beane's perplexing, wholly unromantic and mostly laugh free new book  is that it denies the audience the pleasure of instant reversals of fortune. This new version ends up collapsing the basic logic of the familiar story and tramples all over the musical soul of a score from another era".

Columbia Records recorded the musical selections from the first telecast of Cinderella on March 18, 1957, nearly two weeks before the show aired, in monaural and stereophonic sound, releasing the mono version in 1957 and then the stereo version in 1958. The stereo version was later reissued on CD by Sony. A cast LP album of the 1965 telecast was also issued by Columbia Masterworks Records and on a Sony Masterworks CD. All three of the telecast versions of Cinderella have been released on DVD. A cast recording of the 2013 Broadway production was issued by Ghostlight Records in 2013.

Year Award ceremony Category Nominee Result 1998 Primetime Emmy Award Outstanding Variety, Music, or Comedy Special Whitney Houston, Debra Martin Chase, Craig Zadan, David R. Ginsburg, Neil Meron, Chris Montan, Mike Moder Outstanding Directing for a Variety or Music Program Robert Iscove Outstanding Music Direction Paul Bogaev Outstanding Art Direction for a Variety or Music Program Randy Ser, Edward L. Rubin, Julie Kaye Fanton Outstanding Choreography Rob Marshall Outstanding Costume Design for a Variety or Music Program Ellen Mirojnick Outstanding Hairstyling for a Limited Series or Movie Jennifer Guerrero Mazursky, Ellin La Var, Carla Farmer, Julia L. Walker, Kimberly Kimble, Lucia Mace Academy of Science Fiction, Fantasy and Horror FilmsBest Single Genre Television Presentation American Cinema Editors Best Edited Two Hour Movie for Commercial Television Casey O. Rohrs & Tanya M. Swerling Excellence in Production Design Award Variety or Awards Show, Music Special or Documentary Randy Ser & Edward J. Rubin Artios Award Best Casting for TV Movie of the Week Valorie Massalas, Stuart Howard, Amy Schecter NAACP Image AwardOutstanding Television Movie, Mini Series or Dramatic Special Outstanding Actress in a Television Movie, Mini Series or Dramatic Special Brandy Norwood Whoopi Goldberg Golden Reel Award Best Sound Editing Television Movies of the Week Music Richard Ford OFTA Television AwardBest Motion Picture Made for Television Best Supporting Actress in a Motion Picture or Miniseries Whoopi Goldberg Bernadette Peters Best Ensemble in a Motion Picture or Miniseries Best Costume Design in a Motion Picture or Miniseries Best Production Design in a Motion Picture or Miniseries Best Sound in a Motion Picture or Miniseries Satellite Awards Best Supporting Actor – Series, Miniseries or Television Film Jason Alexander Best Supporting Actress – Series, Miniseries or Television Film Bernadette Peters 1999 Writers Guild of AmericaChildren's Script