Rodgers' friend, Robert Russell Bennett, provided the orchestrations. [52], Cinderella (Rodgers and Hammerstein musical), Tony Award for Best Costume Design in a Musical, Best Performance by a Leading Actor in a Musical, Best Performance by a Leading Actress in a Musical, Best Performance by a Featured Actress in a Musical, "Chapter V – They Called Them Spectaculars", "Cinderella Provides Excellent Christmas Entertainment", "Being Stepmom Is Real Drag for Everett Quinton in 2000-2001 'Cinderella' Tour", "It's Possible! Ella had just enough time to tell the Prince that all is not well in his domain. She carries all of their shopping parcels for them, and when they return home, all three order Cinderella about. In the nick of time, the Fairy Godmother produces perfect attire and helps Ella build her confidence for another frank talk with the Prince ("There is Music in You"). Cinderella's Fairy Godmother appears and is moved by Cinderella's wish to go to the Ball. It was directed by Gina Rattan and choreographed by Lee Wilkins.[39]. The orchestra played in a small room with special equipment to overcome the suppressed acoustics. As Cinderella's stepsisters get ready for the Ball, hoping that they will catch the Prince's eye, they laugh at Cinderella's dreams. Broadcast versions of Annie Get Your Gun, Wonderful Town, Anything Goes, and Kiss Me, Kate were all seen during the decade. [23] Sixty million viewers watched the broadcast.[24]. 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. Topher is now ready to be a leader and knows the partner he needs in love and life ("Do I Love You Because You're Beautiful"). One of the royal guards tries the slipper on all the women of the kingdom ("The Search"). It is based upon the fairy tale Cinderella, particularly the French version Cendrillon, ou la Petite Pantoufle de Verre, by Charles Perrault. They vow to keep their secrets ("A Lovely Night" (reprise)). Malgré des ventes honorables pour l'album et les singles, la fréquentation du spectacle est décevante, et celui-ci ne reste que peu de temps à l'affiche. [2], Reviews for the Broadway version were mixed. [2] The black-and-white kinescope recording made during the telecast was broadcast on PBS in December 2004 as part of its Great Performances series. The equipment was not yet capable of recording color video. [54] 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.
Cinderella and the Prince marry. It also featured Howard Lindsay as The King, Dorothy Stickney as The Queen, Edith 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.
It fits, and the Prince is called back to the garden where he recognizes his beloved ("Do I Love You Because You're Beautiful?" Prince Topher and Ella meet as he is on his way to the palace.
The production originally starred Laura Osnes in the title role and Santino Fontana as the Prince and ran for 770 performances. It was originally broadcast live on CBS on March 31, 1957 as a vehicle for Julie Andrews, who played the title role. [17] 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. 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. [30][31], Douglas Carter Beane wrote a new book for the musical's first Broadway production. She dreams of a better life, and with the help of her Fairy Godmother, Cinderella is transformed into an elegant young lady and is able to attend the ball to meet her Prince.
[22], The 1997 television remake was adapted by Robert L. Freedman and directed by Robert Iscove, with choreography by Rob Marshall. Gabrielle and Jean-Michel's relationship is approved by Madame, and she welcomes her daughter back into her life. Though an expert at slaying dragons, griffins, gargoyles and giants, he feels uncertain about how he will rule as king when the time comes ("Me, Who Am I?").
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. L'intrigue reprend de nombreux éléments du conte Cendrillon transposé dans un contexte moderne. After they go inside, Ella again reflects on her dreams of a better life ("In My Own Little Corner"). The original version contains the following songs:[5], In some productions, additional numbers added include "Loneliness of Evening" (cut from South Pacific and introduced in the 1965 broadcast), a song for the prince; and "Boys and Girls like You and Me" (cut from Oklahoma! But he complained about the book ("What possessed Mr. Hammerstein to turn the stepsisters into distasteful vaudeville clowns? In early March, the company moved to CBS Television Color Studio 72,[4] the first CBS-TV color studio in New York and the smallest color studio in the CBS empire at the time. At their wedding, the Fairy Godmother blesses the couple. He praised Andrews as a "beguiling vision" in "lovely color video." She transforms Cinderella into a beautifully gowned young lady and her little mouse friends and a pumpkin into a glittering carriage with footmen ("Impossible; It's Possible"); Cinderella leaves for the Ball. It also found the cast "first-rate" and the overall story "quirky, yet heart filled". The lead roles of Cinderella and the Prince were performed by Morning Musume members Ai Takahashi and Risa Niigaki.
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