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Opera and Musical Comedy

Cinderella Operas (arranged chronologically):

Rossini, Gioacchini Antonio (1792-1868). La Cenerentola: La bonta in trionfo. First performed at the Teatro Valle, in Rome, January 25, 1817. Libretto by Jacopo Ferretti, entitled Angiolina, ossia La Bonta in trionfo.

Cast: Geltrude Righetti-Giorgi (Angiolina/Cenerentola); Andrea Verni (Don Magnifico); Guiseppe Debegnis (Dandini); Giacomo Guglielmi (Don Ramiro); Caterina Rossi (Clorinda); Teresa Mariani (Thisbe); Zenobio Vitarelli (Alidoro).

[Opera buffa, in two acts: Alidoro, the prince’s instructor, serves in place of a fairy godmother to instruct the prince, Don Ramiro, in human values and facilitate his meeting of Cinderella/Angelina, a woman of true virtue. A critique of class hypocrisy and the cruelty of a degenerate aristocracy, this enlightenment study eschews magic. The father, rather than a stepmother, is the villain. The Prince trades places with his servant Dandini, at Alidoro’s suggestion, to see how it is. The second act begins with a drinking scene in which the father is made wine steward. His bitterness hangs over the play, Malvolio-like to the end, as he refuses to accept Cinderella’s rise above his aristocratic decadence until he is forced to his knees by economic threats. Angelina, cast as an alto/mezzo-soprano, moves from a haunting ballad in a minor key, wherein she tells of her misery,into a brilliant coloratura in her final aria, when she has come into her full voice. There are three videotapes of this opera, one a truly outstanding studio production at La Scala in Milan, with Frederica Von Stade as Cinderella, Francisco Araiza as Don Ramiro, Paolo Montarsolo as Don Magnifico, Margherita Guglielmi as Clorinda, Laura Zannini as Tisbe, Paul Plishka as Alidoro, and Claudio Desderi as Dandini; marketed by the Metropolitan Opera in New York (Munich: Unitel, 1981); the second, a terrific live performance at the Salzburg festival (1988), with Ann Murray as Cinderella, Francisco Araiza as Don Ramiro, and Gino Quilico as Dandini (this production heightens effectively the tragic components of Cinderella’s life and has some wonderful stage effects during the storm); the third, a reasonably good live production at Glyndebourne, 1983, with Kathleen Kuhlmann as Cinderella, Marta Taddei as Clorinda, Laura Zannini as Tisbe, Laurence Dale as Prince Don Ramiro, Claudio Desderi as Don Magnifico, Roderick Kennedy as Alidoro, and Alberto Rinaldi as Dandini (this latter production makes interesting use of puppet theater in the storm scene). A full length film was made of the opera in Italy, 1948. See the entries under Movies. The script of Rossini’s opera is available in Italian with facing page English translation through the Metropolitan Opera as: Gioacchino Rossini. La Cenerentola, ed.Nicholas John. English National Opera Guide I Series. New York: Riverrun Press, 1980; London: J. Calder, 1980.]

Earlier printed Libretti include:

-----. La Cenerentola. A new ed., rev. and corr. London: Printed for H. N. Millar, 1820?.

[Libretto in Italian and English.]

-----. La Cenerentola. New York: Turney, 1832.

[Libretto in English and Italian.]

-----. La Cenerentola. New York: Hovel & Macoy, 1844.

[Libretto in English and Italian.]

-----. La Cenerentola. New York: Adriance, Sherman, 1852.

[Libretto in English and Italian.]

-----. La Cenerentola. Baltimore: Robinson, 18??.

[Libretto in English.]

-----. La Cenerentola. San Francisco: Francisco, Valentine, 1893.

[Libretto in English.]

-----. La Cenerentola. London: E. Eulenburg, c. 1952.

[Miniature score.]

-----. La Cenerentola. New York: Program Publ, c. 1953.

[Libretto in English and Italian.]

-----. Cinderella (La Cenerentola). Libretto by Jacopo Ferretti. In a New Version by Gunter Rennert. With English Text by Ruth and Thomas Martin. New York: Franco Colombo, Inc., 1965.

[Published by the Metropolitan Opera National Company for its 1965 tour of America.]

Celebrated Performances of Rossini’s La Cenerentola:

La Cenerentola. Teatro Valle. Rome. Opened Jan. 26, 1817. An Opera by Gioacchino Antonio Rossini; Libretto by Jacopo Ferretti entitled Angiolina, ossia La Bonta in trionfo, based on Charles Perrault's Cendrillon, ou La Petite Pantoufle. Cast: Geltrude Righetti-Giorgi (Angiolina - Cenerentola); Andrea Verni (Don Magnifico); Guiseppe Debegnis (Dandini); Giacomo Guiglielmi (Don Ramiro), Caterina Rossi (Clorinda), Teresa Mariani (Thisbe); Zenobio Vitarelli (Alidoro). [See Marill, p. 333.]

La Cenerentola. Park Theatre, New York. Opened June 27, 1826. First American production of Rossini’s opera. Produced and directed by Manuel del Popola Vincente Garcia. Cast: Maria Felicita Garcia (Angiolina/Cenerentola); Signor Rosich (Don Magnifico); Manuel Garcia, Jr. (Dandini); Signor Milon, succeeded by Signor Crivelli (Don Ramiro); Madame Barbiere (Clorinda); Mme. Manuel Garcia (Thisbe); Signor Angrisani (Alidoro). [First New York production of Rossini’s opera.]

Lacy, Michael Rophino. Cinderella, or the Fairy-Queen and the Glass Slipper. A Comic Opera, In Three Acts. The Music by Rossini. Written, and the Music Adapted and Arranged, by Rophino Lacy, Author of The Maid of Judah, The Turk in Italy, Fra Diavolo, Robert the Devil, Love and Reason, Love in Wrinkles, The Two Friends, Napoleon, The Israelites in Egypt, Jephtha’s Vow, The Blind Girl, etc., etc., etc. London: Thomas Hailes Lacy, n.d.

[The Lilly Library, Indiana University, has Lacy’s Acting Edition of the opera, which has been reproduced on Readex fiche.]

The first performance of Lacy’s pantomime, with its adaptation of Rossini’s music, was Tuesday, 13 April 1830, at the Theatre Royal, Covent Garden. Director, Mr. Rophino Lacy. Stage Director, Mr. Farley. Cast: Felix, Prince of Salerno (Joseph Wood); Baron Pumpolino of Montefiesco (Mr. Penson); Alidoro, the Prince’s Tutor (Mr. Stansbury); Dandini, the Prince’s Valet (Mr. Morley); Pedro, servant to the Baron (Mr. Keeley). Hunters, Attendants, Pages, Grandees, Visitors, etc. Tyrolese Dancers (Mesdames Vedy and Bedford and Mr. Albert); Corps de Ballet, etc., etc. Cinderella (Mary Ann Paton); Clorinda, Thisbe–Daughters of the Baron (Miss H. Cawse and Miss Hughes); Fairy Queen (Miss H. Cawse); Sylphs, Fairies, etc., etc.

Musical Numbers: “While Sunbeams are Glancing”; “Bless Now Attend Thee”; “Hark!-Around-Above”; “What Wild Sounds the Hunters Attending”; “Our Noble Prince Is Found”; “No, No, With Steps so Light”; “Grant Me Charity”; “Ye Tormentors, Wherefore Came Ye?”; “All Around Is Silent--This Mansion a Desert Seems”; “Whence This Soft and Pleasing Flame?”; “Of the Baron’s Lovely Daughters”; “My Lord Deign But to Hear Me”; “Dare But to Breathe Again”; “Softly, Softly, in a Whisper”; “Sir, a Secret Most Important”; “Cease Cinderella!”; “Delightful Hour of Rapture”; “In Light Tripping Measure”; “Whilst to Joy We Sing Inviting”; “Let Thine Eyies on Mine Mildly Beaming”; “What Demon’s Opposing Malice”; “Now With Grief No Longer Lending.”

[Lacy’s adaptation of Rossini became one of the most frequently reproduced of the pantomime operas, often used in the 19th century by British acting troups in America as well. See productions by Pyne and Harrison (1855)and the Richings English Opera Company (1867), cited below. This pantomime was printed without credit to Rolphino Lacy by Samuel French as French’s Standard Drama, no. CLXIV, New York: Samuel French, n.d., and in the Turner’s Dramatic Library, #58, after 1840. French’s edition lists performances and casts from “Holiday St. Baltimore, 1839. Chestnut St. Philad. 1840. Barnum’s Museum 1856.” The Turner’s Dramatic Library edition lists casts for Baltimore 1839 and Philadelphia 1840. In all of these productions Prince Felix and Dandini were sung and acted by males and Clorinda and Thisbe by females.
[Lacy’s printed edition includes this note on Costumes: Prince–1st Dress: Green hunting shirt; cloak with star, tights, high boots, cap and white feathers, gauntlets, short sword and boar spear. 2nd Dress: White satin shirt, white tights, ankle shoes embroidered, short arm-hole robe of crimson, or purple velvet; jewelled cap with white plumes.Baron–1st Dress: Velvet doublet and full trunks, dressing gown and cap, slippers. 2nd Dress: Arm-hole velvet cloak, hat and feathers, shoes and rosettes. Alidoro–Black velvet shape and cloak. Dandini–Neat yellow shirt, boots, etc. Pedro–Red short shirt, red tights. Cinderella–1st Dress: Rich double dress, embroidered veil. 2nd Dress: Plain dark wrapper. Clorinda and Thisbe–Handsome dresses of the time. Fairies–Fanciful and light dresses, wands, flowers, etc.

[Synopsis: Act I, Sc. 1: The Fairies’ haunt–a romantic scene surrounded by bowers of roses in the midst of which rises a sparkling fountain. A broad lake in the distance, shut in by mountains which stretch to the horizon. The sun is just seen rising over them. During the symphony numerous Sylphs and Fairies enter, forming a dance around the fountain to the chorus “While sunbeams are glancing.” FQ appears and sings the air “From distant regions flying,” with chorus “We’re here to yield our duty.” She is the guardian spirit of Cinderella and tells of her abuse. Horns sound and she informs the sylphs that the youthful Prince must choose a partner of his throne. That woman will be “the mortal daughter whom your Queen befriends.” The fairies conduct the Prince on stage, unconscious of his guidance. He sings: “Morning its sweets is flinging.” Never has he seen so beauteous a spot. He sounds his horn and as the call dies away a strain of music near him begins. He and the fairies sing a concerted piece, whereby he knows he is on enchanted ground. He looks into the fountain and views the form of Cinderella, splendidly attired, her features half shaded by a thin veil. As he reaches toward the image the FQ makes it disappear. She then touches Prince Felix with her wand, and he sleeps.

[Sc. 2: A forest glade. During the symphony hunters cross the stage armed with spears and bearing a dead wild boar suspended from a pole; others with a variety of game. Alidoro and Dandini, amidst the chorus “What wild sounds, the hunters attending,” come upon the sleeping Prince. He awakens wondering if they have seen what he saw. Alidoro recalls a similar dream that he had to guide “my sovereign to the old castle of the Baron of Montefiesco, where virtue, youth, and beauty awaited him, worthy of a throne.” The Prince notes that they have already been invited to the ball and that the report of the women is fair but that the Baron is a fool. The Prince decides to divest himself of his pomp and lay the right of royalty on Dandini in order to visit the Baron in hope of seeing the damsel.

[Sc. 3:A Gothic room in the Baron’s Castle, opening into a garden. On left a full-length swing mirror and an antique high fireplace. Cinderella is discovered on a low stool by the fireplace while Clorinda and Thisbe take advantage of the mirror, Clorinda practising a dance step and Thisbe trying a flower on her head and breast. Trio, with Cinderella’s “Once a King there chanced to be” ballad, as in Rossini. FQ appears at the door as a beggar. In a quartette she beseeches, is scorned by the two sisters, and pitied by Cinderella. The sisters depart, imagining how vexed Cinderella will be when she sees their beauty and Pedro enters with boxes of dresses, hat, feathers, etc. As they squabble over the things, they knock Pedro over and he crushes that bandbox containing the Spanish hat. A concerted piece and chorus as Alidoro arrives to announce the Prince. The sisters double their demands upon Cinderella as she mocks them with her “Cinderella here, Cinderella there” patter song and the sisters fight over who is the more likely to be chosen. Their noise awakens the Baron who enters angry, singing about his wonderful dream, a dream in which he was a Jackass who was wonderfully transformed into a flying creature with progeny. They tell him of the Prince’s impending visit, and it seems that the dream must already be coming true. The Prince enters, disguised and alone, with a recitative “All round is silent.” Cinderella enters singing her “Once a King there chanc’t to be” and is startled as she happily bumps into Felix. They respond to the experience with a duet, “Whence this soft and pleasing flame.” The sisters call for Cinderella, who must tend them, and the Prince meditates ecstatically on her innocence and simplicity as well as her resemblance to the woman of his dream. The Baron and sisters enter, then Dandini, with extravagant airs. The Baron and daughters are enthralled. Cinderella approaches the Baron, hoping for permission to attend the ball but is refused. In an extravagant concerted piece the Baron ridicules her, Dandini wishes to leave, the Prince tries to overhear what the Baron is saying, and Cinderella laments. FQ appears and gives Alidoro an open book, which says that the Baron has three daughters, the third named Angelina. The Baron swears she is dead, Cinderella knows she isn’t, and in a quintette they all express their uncertainty.

[Act II, Sc. 1: A Chamber in the Palace. The Prince and Dandini discuss the situation. Clorinda and Thisbe flirt with “Prince” Dandini, who offers to marry one if the other will marry his valet. Both girls sing “No, no, no,” and scorn the true Prince. He then tells Dandini that the ruse is over and advises him to disclose himself to the Baron, which he does.

[Sc. 2: The kitchen in the Baron’s house, with dresser, table, chair, broom, washing tubs, spinning wheel, flax, and mousetrap, etc. Cinderella contemplates the image of the “Prince” she saw. Pedro enters singing “Once a King.” Pedro expresses his love for her, and she laments her ugliness. Signs appear on the wall and chimney that Cinderella’s woes are about over and that she will receive a just reward. She is amazed, but the fairies now enter singing “Cease Cinderella.” FQ blesses her as Pedro fears devil’s tricks. He is asked to fetch the pumpkin, mice, etc. All are transformed and both Cinderella and Pedro are dressed for the ball. Pedro helps Cinderella into the carriage and they’re off.

[Act III, Sc. 1:Richly decorated ballroom in Prince’s Palace, with glass doors at center opening into a colonnade; festoons of flowers, variegated lamps, chandeliers, etc., with chair of state on a platform with steps. A dance is in progess with the Prince in melancholy sitting on his throne. A large clock is over the arch. The chorus sings “In light tripping measure,” but the Prince is visibly disappointed. Then the Princess without a name is announced. Cinderella’s car comes to the portico; she is half veiled. The Prince rushes to her and falls at her feet: “O rapture!” Cinderella replies: “He the Prince? Delightful moment!” Alidoro praises her form, but the Baron sees nothing particular in it. The Prince and Cinderella sing a duet, “Let thine eyes on mine mildly beaming.” The Prince asks her name and kingdom, but she is silent. He withdraws her veil. The Baron and sisters cannot believe their eyes, and don’t, sure that the woman could not be Cinderella. She asks the Baron if he has other children. He says only two. She wishes them happiness and the prince praises her father. She says her father disowns her. The Baron scorns him as a “brute.” The Prince then takes her to the feast while Tyrolese singers and dancers entertain. Pedro appears to warn her that midnight is upon them. He asks for a minute or two longer. A waltz begins, and the Prince prevails. At the stroke of twelve she flees, escaping through the dancers. The Prince is too far behind and does not heed her in rags. Pedro is less fortunate; he is so involved dancing with a fine lady that she screams and indignantely retires when his fine clothes fly up in the air leaving him in his servant’s garb. He continues dancing by himself until pages hastily expel him from the room. The Prince finds the glass slipper. The Prince asks if any know anything about her, and the Baron pipes up: “I believe, then, my gracious Prince–nay, I am almost sure–or, rather, I have strong reasons to suspect–that nobody here knows anything about her.” The Prince calls him a prating fool and withdraws distracted as the Chorus sings “What demon’s opposing malice.”

[Sc. 2: The Kitchen in the Baron’s Castle; the rat-trap and mouse-trap again in their places. Pedro enters in pursuit of a pumpkin that rolls before him. Cinderella enters panting. They have barely got home before the Baron. Cinderella laments the loss of her slipper, but Pedro says that that may be cause for hope. The Baron arrives and Pedro anticipates “a fie account of ourselves.”

[Sc. 3: An apartment in the Baron’s house. They discuss the ball. Pedro enters with a paper announcing the Prince’s intention to marry the one who fits the slipper. He cannot read it (he’s iliterate) and the sisters, in their greed, tear it in two. Finally the Baron pieces it together and reads it. Cinderella wishes to go too, but again they mock her. Pedro reassures her that she will be there.

[Sc. 4: A Hall in the Prince’s Palace. The Prince is both disappointed and glad that the slipper fits none of the lot. The Baron arrives and his two daughters try, with much bickering. Then Pedro appears, insisting that he must advance–he’ll have his way even if he dies for it. The Baron recognizes him. Pedro insists that he is an ambassador of one who desires only to show her foot here. The music that ushered her to the ball the first time resumes, and Cinderella appears. The Prince turns away in bitter disappointment. Cinderella is stunned but Pedro says he has a right to look as he likes. Clorinda is shocked that it is Cinderella, and the Baron is assured. Thisbe plans to starve her for a week for this gag. Cinderella is timid, fearing that he has forgotten “my features” or now dislikes her. The Baron rushes forward to disclaim her, and the Prince recognizes her as the Baron’s pretty servant. The Baron tries to silence Pedro but he speaks up: “you killed the dear creature once already yesterday, and I won’t be a participator in such suicide.” The Prince acknowledges the fit and permits her to ascend the pedestal to “try thy fortune–though heaven forefend thy triumph!” She ascends the pedestal, the slipper fits; FQ appears, and with a touch of her wand Angelina is changed into the gown she wore at the ball. At the same time the whole scene changes showing a fantastically Gorgeous Hall, with fairies at the back. The Prince is enwrapped in delight, and FQ admonishes Cinderella: “thou hast been humble in adversity: be modest now in greatness!” Cinderella marvels at her changed fate, from lasting misery to transporting bliss. She sings an air on the passing of Sorrow’s clouds, and the Chorus joins in, “Like the lightning, swiftly ending, / May our griefs for ever fly!”

[See the 1831 adaptation ofLacy’s operaabove underPantomime. See also the entries below for 1855, 1867, and for the Samuel French edition, n.d. [ca. 1850], all of which fail to acknowledge Rophino Lacy’s role as composer and adapter.]

-----. Cinderella (1831). Adapted by M. Rophino Lacy from Gioacchino Rossini’s La Cenerentola. Ed. John Graziano. Italian Opera in English. Vol. 3. New York and London: Garland Publishing, Inc. 1994.

[Graziano’s Introduction analyzes the relationship of Lacy’s adapation to Rossini’s Opera, with musical examples and discussion of Lacy’s borrowing from Rossini’sArmida(1817),Maometti II(1820), andGuillaume Tell(1829), as well as G. Pons and unknown sources, in composing his version. Graziano also considers the sources of Rossini’s work, with comparisons of Etienne’s libretto, modified by Romani, and further adapted by Ferretti. The volume presents both Lacy’s Libretto and full Musical Score, and includes an appendix of “Cotillions from Cinderella,” by G. Pons. See Musical Compositions and Dances.]

Cinderella; or, The Fairy and the Little Glass Slipper. Park Theater, New York. Opened 24 January 1831. Michael Rophino Lacy’s adaptation of Rossini’s opera, with music from pieces in Rossini’sArmida,Guillaume Tell, La Cenerentola, and Maometto II. Scenery by Evers. Costumes by Mead. Musical Director: De Luce. Choral Director: Mr. Meta. Stage Manager: Mr. Chambers.

Cast: Mrs. Austin (Cinderella); John Jones (Felix, Prince of Salerno); Henry Placide (Baron Pompolino); Mrs. W. R. Blake (Clorinda); Jane Vernon (Thisbe); Thomas Placide (Pedro); Mrs. Henry Wallack (Fairy Queen); James Thorne (Dandini); Peter Richings (Alidoro); Mr. Poney (Hunter); Mrs. Durie, Juliet Godey, B. Simms, Miss Turnbull (Fairies).

Cinderella; or, The Fairy and the Little Glass Slipper. Chestnut Street Theater, Philadelphia. Opened 13 April 1832. Scenery by Smith and Carr. Costumes by Mead. Musical Director: Mr. Cross, Jr.

Cast: Mrs. Austin (Cinderella); John Jones (Felix, Prince of Salerno); Mr. Rowbottom (Baron Pompolino); Mrs. Rowbottom (Clorinda); Miss A. Fisher (Thisbe); Mr. Watson (Pedro); Mrs. Smith (Fairy Queen); Mr. Mercer (Dandini); Mr. Whiting (Alidoro); Messrs. Still, Derr, Whitney, D. Eberle, Broad, Sprague, Johnson, Dickson, Thompson, Read, Ryan, Elliot, Weaver, Young (Hunters); Mmes. Green, Roberts, Misses Armstrong, J. Turner, E. Turner, Durang, Fox, Fairfield, Resad, Nichols, More, Clements, Tailor, Smith (Fairies).

[Lacy’s adaptation of Rossini. See previous entry.]

Cinderella; or, The Fairy and the Little Glass Slipper.Niblo’s Garden, New York. Opened 14 August 1837.

Cast: Mrs. Knight (Cinderella); John Jones (Felix, Prince of Salerno); William Chippindale (Baron Pompolino); Mrs. Archer (Clorinda); Mrs. Vernon (Thisbe); John Sefton (Pedro); Mrs. Durie (Fairy Queen); Peter Richings (Dandini); John Povey (Alidoro).

[Lacy’s adaptation of Rossini. See previous entry for synopsis and modern printed edition of Lacy’s text and musical adaptations.]

Cinderella; or, The Fairy and the Little Glass Slipper. Touring Company in America. Season 1837-1838.

Cast: Eliza Petrie (Cinderella); J. M. Field (Felix, Prince of Salerno); Vincent DeCamp (Baron Pompolino); Miss Vogt (Clorinda); Mrs. Hubbard (Thisbe); Thomas Placide (Pedro); Miss Henning (Fairy Queen); Sol Smith (Dandini); Matt Field (Alidoro).

[Lacy’s adaptation of Rossini. See previous entry.]

Cinderella; or, The Fairy and Little Glass Slipper. An Opera, In Three Acts. Music by Rossini. Correctly Printed from the Most Approved Acting Copy, With a Description of the Costume, Cast of the Characters, Entrances and Exits, Relative Positions, and the Whole of the Stage business; To which are added, Properties and Directions, as Now Performed in the Principal Theatres; Embellished with a fine Wood Engraving. Turner’s Dramatic Library. Philadelphia and New York: Turner & Fisher, c. 1840-1845.

[The fine wood engraving is crude, but could reflect the basic set of the opening scene where the Fairy queen appears to the Prince. See Michael Rophino Lacy, above, for synopsis of the plot. This printing gives both the original Baltimore (1839) and Philadelphia (1840) casts. See the following two entries.]

Cinderella; or, The Fairy and the Little Glass Slipper. Holiday Street, Baltimore. 1839.

Cast: Felix, Prince of Salerno (Mr. Wilson); Baron Pompolino (Mr. Horncastle); Alidoro, Tutor to the Prince (Mr. Garner); Dandini, Valet to the Prince (Mr. Seguin); Pedro (Mr. Stanley); Cinderella (Miss Shirreff); Clorinda (Miss Thornton), Thisbe (Mrs. Herbert); Fairy Queen (Mrs. Hautonville); Hunters, Fairies, Attendants, etc.

[This is the cast listed in the Turner’s Dramatic Library edition (after 1840), which purports to be “Correctly printed from the most approved acting copy.” See previous entry.]

Cinderella; or, The Fairy and the Little Glass Slipper. Chestnut Street, Philadelphia, 1840.

Cast: Felix, Prince of Salerno (Mr. Wood); Baron Pompolino (Mr. Leffler); Alidoro, Tutor to the Prince (Mr. Sherman); Dandini, Valet to the Prince (Mr. Brough); Pedro (Mr. W. F. Johnston); Cinderella (Mrs. Wood); Clorinda (Mrs. Blake); Thisbe (Mrs. Plumer); Fairy Queen (Mrs. Hunt); Hunters, Fairies, Attendants, etc.

[This is the cast listed in the Turner’s Dramatic Library edition (after 1840).]

Cinderella; or, The Fairy and the Little Glass Slipper. Olympic Theater, New York. Opened 19 February 1844. 16 performances. Produced and directed by William Mitchell. A Comic Opera by Rossini adapted by Michael Rophino Lacy from Jacopo Ferretti’s libretto for La Cenerentola, with music from pieces from Rossini’s Armida, Guillaume Tell, La Cenerentola, and Maometto II. Costumes by Mrs. Skaats.

Cast: Mary Taylor (Cinderella); Mrs. H. C. Timm (Felix, Prince of Salerno); John Nickinson (Baron Pompolino); Mrs. J. B. Boooth, Jr. (Clorinda); Mrs. Watts (Thisbe); George Holland (Pedro); Constantia Clark (Fairy Queen); Charles M. Walcot (Dandini); George Graham (Alidoro).

Cinderella. Olympic Theater. New York. Opened 20 March 1844. 20 performances. Produced and directed by William Mitchell. A Burlesque by Horncastle. Cast:Mrs. H. C. Timm (Cinderella); Mary Taylor (Prince Perseverance); Charles M. Walcot (Nedamid); John Nickinson (Alderman Sollipop); George Graham (Peter); Mrs. J. B. Booth, Jr. (Bessy Boxer-Ears); Mrs. Watts (Sissy Slycuff); Constantia Clarke (Biddy); Miss Roberts (Judy).

Cinderella; or, The Fairy and the Little Glass Slipper. owery Theater, New York. Opened 5 February 1847. Produced and directed by William Mitchell. Michael Rophino Lacy’s adaptation of Rossini with other operatic music (see annotation for Lacy’s opera, London, 1831, under Pantomime, for placement of the operatic music within the plot).

Cast: Mary Taylor (Cinderella); Henry Hunt (Felix, Prince of Salerno); Mr. Vache (Baron Pompolino); Mrs. J. B. Booth, Jr. (Clorinda); Mrs. Sergeant (Thisbe); Thomas Hadaways (Pedro); Miss Lockyer [Mrs. Joseph Jefferson] (Fairy Queen); H. Chapman (Dandini); John Winans (Alidoro).

Cinderella; or, The Fairy and the Little Glass Slipper. Olympic Theater, New York. Opened 1 October 1849. Produced and directed by William Mitchell. Cast: Mary Taylor (Cinderella); T. Bishop (Felix, Prince of Salerno); John Nickinson (Baron Pompolino); Miss Sinclair (Clorinda); Julia Miles (Thisbe); Thomas Hadaways (Pedro); Mrs. W. Conover (Fairy Queen); Charles M. Walcot (Dandini); Mr. Stafford (Alidoro).

[Lacy’s adaptation of Rossini with pieces from other Rossini operas as well (see previous entry).]

Cinderella; or, The Fairy and the Little Glass Slipper. Park Theater. New York. Opened 19 January 1852. 12 performances. Produced and Directed by William Mitchell.

Cast: Mary Taylor (Cinderella); George Holman (Felix, Prince of Salerno); Henry Placide (Baron Pompolino); Mrs. Blake (Clorinda); Mrs. Holman (Thisbe); William H. Burton (Pedro); Jane Hill (Fairy Queen); F. Meyer (Dandini); Mr. Rea (Alidoro).

[Lacy’s adaptation of Rossini with pieces from several Rossini operas (see previous entries).]

La Cenerentola: An Opera by Rossini. Libretto by Ferretti. Astor Place Theater, New York.

Cast: Madame Marietta Alboni (Angiolina / Cenerentola); Agostino Rovere (Don Magnifico); Signor Colletti (Dandini); Signor Sangrovanni (Don Ramiro); Signora Avogadro (Clorinda); Signora Albertazli (Thisbe); Signor Barili (Alidoro).

Cinderella: or, The Fairy and the Little Glass Slipper. An Opera in Three Acts. Performed by the Pyne and Harrison English Opera Troupe. Boston: J. H. Eastburn’s Press, 1855. Music by Rossini.  Cast: Prince Felix (Mr. W. Harrison); Alidoro, his Tutor (Mr. G. Rea); Dandini, the Prince’s Valet (Mr. Borrani); Baron Pompolino (Mr. Horncastle); Pedro, the Baron’s Servant (Mr. W. Davidge); Clorinda (Miss Pyne); Thisbe (Carlotti Pozzoni); Fairy Queen (Mrs. Reeves); Cinderella (Miss Louisa Pyne); Fairies, Sylphs, Cupids, Lords, Ladies, etc. by numerous Auxilliaries.
This version has been adapted from Rophino Lacy’s opera, above.

[Act I, Sc. 1: The Fairy Haunt. After a chorus and dance on glancing sunbeams the Fairy Queen enters in a swan car to announce her decision to marry the prince to Cinderella. He’s the one she has been watching for and he’s in the neighborhood having searched the world for a bride without success. The Prince enters the magical place singing and wondering why his horses refused to enter. In a concerted piece the Prince and fairies define the music of the place, and he begins to echo the Fairy Queen’s words. She presents a vision of Cinderella for him in the fountain then with a wave of her wand it all disappears. Distant horns sound and the fairies put him to sleep.

[Sc. 2: Cloud flats. The Fairy Queen listens, then waves the clouds off.

[Sc. 3: A beautiful Eastern Landscape. After a chorus Dandini discovers the Prince asleep. The Prince awakens, describes his vision to Alidoro, and wonders if they saw anything. They have seen nothing, but Alidoro recalls a dream that he had which corresponds to the Prince’s. His dream had indicated that the woman was a daughter to the Baron of Montifiesco, a pompous fool. With a marching chorus they return to the castle, and the Prince announces that he will go to the Baron in disguise.

[Sc. 4: A Gothic Room in the Baron’s Castle. Cinderella at the fireplace, Clorinda before a mirror practicing a dance, Thisbe at another mirror fixing a flower in her hair sing a trio based on Rossini. The sisters complain about their strenuous work and mock Cinderella when she says she could dance for twenty-four hours without tiring. The Fairy Queen comes to the door disguised as a decrepit old woman. Quartette based on Rossini as FQ begs, the two sisters scorn, and Cinderella cares for the poor woman. When Clorinda would drive her out she casts a spell that stops Clorinda in her tracks, then departs. Pedro arrives with stuff for the ball. He laughs as Clorinda’s hat and feathers are flattened and broken. Alidoro and hunters arrive to announce that the Prince himself will visit. A quartette in which all concerned bustle about, Cinderella lamenting how they all tell her to run here and there and Alidoro wondering about the confusion in their brains. The Baron appears, having been rudely awakened, and tells of his portentuous dream of a jackass which he figures to be himself. Clorinda and Thisbe tell him that the Prince is coming, and he is certain his dream is coming true. The Prince arrives disguised as Dandini, meets Cinderella, and they sing a love duet that leaves them in confusion. The Baron denies that Cinderella is his child; Alidoro produces a book announcing her birth, but the Baron denies it. Act I ends, as in Rossini, with an ensemble piece as groups comment on each other.

[Act II, Sc. 1: Chamber in the Palace. The Prince and Dandini discuss the two sisters; the Prince decides to be himself again and leaves Dandini to explain to the Baron, which he does in a witty duet.

[Sc. 2: Cinderella and Pedro discuss why the Baron detests her. The Fairy Queen appears and prepares them for the ball, using pumpkin, mice, and two garden pots. The clothes of both Cinderella and Pedro are trans-formed into finery.

[Sc. 3: The scene changes to the exterior of the Prince’s Palace, as FQ warns Cinderella to return before midnight. Finale, as Cinderella and fairies sing of their joy.

[Act III, in which Miss L. Pyne introduces a new aria composed by Jules Benedict called “The Skylark.”Sc. 1:The ballroom with grand piazza and moonlight city in the background. After a choral dance the Prince laments that his dream woman is not there. Then she appears, and they sing a duet. She remains veiled, however, and he wonders what her name is. She won’t say, musing that she forgot to ask F what her name should be. She talks with the Baron, asking him if he has no other children. He insists not, and she gives him a ring. He praises her lucky parents, but she says her father disowns her, which makes the Baron rage against such a brute. After “Song of the Sky Lark,” which Cinderella sings, Pedro notes that it’s nearly midnight. The clock strikes twelve and they flee.

[Sc. 2: A landscape in view of the Palace. Pedro bustles about stage in pursuit of a pumpkin which rolls about.

[Sc. 3: The Kitchen in the Baron’s Palace. Cinderella in dismay looks at the things. She commiserates with Pedro who notices that she still has one of the little glass slippers. The other, she remembers, came off in the ballroom. Clorinda and Thisbe arrive, and Cinderella is eager to hear their report of the ball.

[Sc. 4: An apartment in the Baron’s house. The sisters praise the mysterious princess, and Pedro announces that the Prince is searching for the owner of the slipper. The sisters mock Cinderella’s wish to try the slipper, but Pedro vows that she will have her chance.

[Sc. 5: A hall in the Prince’s Palace, with all present for the trial of the slipper. The Baron presents his two daughters, who try but fail. The Baron wishes he had given them the Chinese foot treatment thirty years ago. Pedro appears. Alidoro would send him away, but the Prince lets him speak. Pedro says he is ambassador to a Princess. Alidoro calls him fool, but the Prince would see her. He sits down depressed. Pedro brings in Cinderella. The Baron tries to attack them both, but Pedro says the Baron already murdered her yesterday and refuses to be silent–“I won’t be a silent participator in such a double-distilled, murderous suicide.” The Prince intervenes, but is disappointed; he sees that her face is like that of his vision, but, given her wretched condition, “heaven forfend thy triumph.”

[Sc. 6: A magnificent scene in the palace as FQ appears and transforms Cinderella into Sweet Angelina: “Thou hast been humble in adversity, be modest in thy greatness.” A final chorus sings of sorrow’s clouds passing.]

Cinderella; or, The Fairy and Little Glass Slipper. An Opera, in Three Acts. Music by Rossini. Correctly Printed from the Most Approved Acting Copy, with a Description of the Costume, Cast of the Characters, Entrances and Exits, Relative Positions, and the Whole of the Stage Business; To which are added, Properties and Directions, as now performed in the Principal Theatres. Embellished with a Fine Wood Engraving. Turner’s Dramatic Library, no. 58. Philadelphia: Turner & Fisher, n.d. [after 1840].

[See French’s Standard Drama edition below, which appears to be nearly identical with this edition, though printed as a somewhat later date. A copy of this edition may be found in the Olin Library at Cornell University, bound together as “Standard Drama” with several other plays, including The Happiest Day of My Life. A Farce in Two Acts, by J. B. Buckstone; Ambrose Gwinett; or, A Sea-Side Story. A Melodrama in Three Acts, by Douglas Jerold;Napoleon! or, The Emperor and the Soldier. A Petite Drama in One Act, by John Walker (Duncombe’s Edition); The Married Rake, by Charles Selby; Crossing the Line, Or, Crowded Houses. A Comic Drama in Two Acts, by G. Almar; The Wonder: A Woman Keeps a Secret. A Comedy in Five Acts, by Mrs. Centlivre (first published in London, 1714); and The Swiss Cottage; or, Why Don’t She Marry. See entries above, Turner & Fisher, [1840-1845] for another copy, along with the Baltimore and Philadelphia casts.]

Cinderella: The Fairy and Little Glass Slipper. An Opera, in Three Acts. Music by Rossini. To which are added, A Description of the Costume, Cast of the Characters, Entrances and Exits, Relative Positions of the Performers on the Stage, and the whole of the Stage Business. French’s Standard Drama, No. CLXIV. New York: Samuel French, n.d. [c. 1857?]

[Though the title page gives credit for the music to Rossini, the words of all of the airs, concerted pieces, arias, and recitatives are taken from Rophino Lacy’s opera 1830, and so too much of the dialogue and stage directions. There are some new features (as in the Turner’s Dramatic Library edition)-the Fairy Queen’s car is drawn by two swans in Act I, sc. 1, and Act I, sc. 2, is a dance of Cloud Flats–but mainly it is a reprinting of Lacy’s opera. Given the fact that the Pyne and Harrison English Opera Troupe’s version includes the swan car and the Cloud Flats scene it is possible that French’s edition draws upon it as well as Lacy. But there is much as well that differs in the 1855 edition from Lacy’s editions of the 1830s, none of which makes it into French’s Standard Drama edition. The French edition mentions American productions in Baltimore, 1839, Philadelphia 1840 (see entries and casts, above), and Barnum’s Museum 1856, so it must have been printed shortly after 1856.]

Cinderella: Or, The Fairy Queen and Glass Slipper. An Opera, in Three Acts. As Performed by the Richings English Opera Company. Philadelphia: Ledger Job Printing Office, 1867.

Cast: Prince, Baron, Alidoro, Dandini, Pedro, Hunters, Attendants, Pages, Grandees, etc. Cinderella, Clorinda, Thisbe, Fairy Queen, Sylphs, Fairies, and Ladies, etc.

[A slightly shortened adaptation of Rophino Lacy’s edition of 1830; stage directions are more minimal, but the music is the same and so too most of the text.]

Jonas, Emile (1827-1905). Javotte (Cinderella). Opera-comique en trois actes de M. Alfred Thompson. Musique de M. Emile Jonas. Paris: E. Dentu, 1872.

[Anon.] The Operetta of Cinderella, Given by the Benton Opera Class, Under the Management of Mrs. Charles Benton (of New York) for the Benefit of Christ Church, at the Grand Opera House, Nashville, Tennessee. Nashville, Tennessee: C. R. & H. H. Hatch, 1882. Six performances, commencing May 8, 1882, with separate casts for the first three and last three nights. A copy of this publication, now in the John Hay Library, Brown University, has been reissued on Readex fiche.

Cast: Cinderella (Rebecca Jaros; Caro Gordon), Prince (Ida Gleaves; Lilly Burkowitz); Alfredo (Katie Geiger); Thisbie (Estella Fisher; Lottie Johnston); Clorinda (Josie Sands; Clara Burton); Fairy Queen (Laura Davie; Estella Fisher); Pedro (Nat. Dortch; John Consadine); Dromio (Will Ferguson; Henry Fields); Governess (Bettie Carroll; Lillie Bernheim); Buttoni (Leopold Lowenstein; Willie Knapp); Alidora (Walter Rainey; Sol Shyer); Fairy God Mother (Flora Mitchell); Baron (Ralph Bisland); Dandini (Annie Minchin). The Grand Ensemble (all six nights, all named in the program/book) includes twenty-six Roman Guards, fourteen Daughters of Liberty, thirty-eight Amazonian Queens, twenty-three Castinette Dancers, fifteen Tambourine Dancers, twenty-seven Polka Dancers, twelve Shepherdess Dancers, fifty-four Fairies (twelve of whom have speaking parts), sixteen Minuet Dancers, thirty-three China-men, forty-eight Cinderella Cadets, twenty-one Royal Guards, sixteen Half Moons, and four Funny Old Gals. The program/book includes advertising for local businesses.

[Act I, Sc. 1: The Prince, having searched the world over for a mate, complains about Spanish maidens for being too dark and English girls who “danse so they spoil a fellow’s curls.” When the Fairy Queen appears to tell him his lot has been cast amd shows him Cinderella’s image he’s quite undone–“I am the gonest, / I’ll snatch her from her nest.” As Alidora and Dandini enter to announce that they have all lost their way, Dandini boasts that he’d be a better prince than the Prince. The Prince tells them of his Fairy encounter and announces the ball–“my charmer will be there”; moreover, he will change places with Dandini in order to observe her more readily. The scene ends with Polka Dancers, Tambourine Dancers, Shepherdesses, and Castanet Dancers, performing to “Just Look at That” and “The Maid and the Muleteer.”

[Sc. 2: More dancing to “Juvenile Courtship,” “Buy a Broom,” and “The Belle of the Ball.”

[Sc. 3: After yet another dismal day in the dumps, Cinderella takes abusive orders from Clorinda, then the Baron and Tisbie, as Thisbie, preparing for the ball, says her dress is an atrocity, and the Baron laments his impecuniosity. The Prince enters disguised as Dandini, and instantly he and Cinderella yearn for each other–“the hero of my dream… I’m about to scream.” The Prince tells her not to and kisses her instead, whereupon she’s even more eager to scream. He tells her that he will get her out of the ashes if she’ll marry him. She replies that she can’t marry until her sisters do. The Prince is no dunce and will see to it at once.

[Sc. 4: Performances of “He’s Pretty as He Can Be,” “The Waterfall,” “Matrimonial Sweets,” a march by the Cinderella Cadets, The Roman Guards, The Daughters of Liberty, and the Amazonian Queens, then “I’m Very Fond of Music,” after which the Royal Guards and the court enter. The Baron denies that he has other than two daughters, the Prince challenges him, Dandini silences the Prince, and Buttoni produces Cinderella, to the Prince’s delight. Though all plead that she be permitted to attend, Pa says, “No.”

[Sc. 5: A musical interlude of “When the Pigs Begin to Fly” and a whistling chorus of “The German Fifth.”

[Act II, Sc. 1: The Prince reassures the disgraced Buttoni. After “The Conspirator’s Chorus” and “The Couple’s Song and Chorus” Clorinda pursues Dandini. He seeks variety, which he gets in Thisbie. The Baron intercedes on behalf of either, and Dandini escapes by telling who he is.

[Sc. 3: “Not Before Pa,” “Under the Lilacs,” “Ivy Green,” “Over the Garden Wall,“and “Dost Thou Love Me, Sister Ruth?” are sung while Buttoni watches Cinderella sleep and awaken, and wonders if she dreams of him. Cinderella tells him her dream is of a Prince’s Hall, not him. The Godmother appears and tells her of the Prince’s real identity. So she sets out for the ball, admonished to leave by midnight if she is to enjoy her wedding day tomorrow.

[Sc. 4: “Policeman’s Song” and “Rollicking Dolly Day,” then Pedro and Dromio discuss the two stepsisters. Clorinda would dance with the Prince, but he’s “booked ten deep” to the mysterious lady. She would depart, but the Baron still has refreshments to taste.

[Sc. 5: “The Moons,” “No,” “Lardy Dah,” and “The Funny Old Gal” are sung as the Prince and Cinderella pledge their love.

[Sc. 6: “The Man in the Moon is Looking, Love” followed by the Minuet Dancers. The Prince tells the Baron that his daughters are too old; Alfonso praises the mysterious lady and the Baron says he has a daughter who looks like her.

[Sc. 6: The Prince scorns the Baron: “You mean that coaly little wretch?” and Cinderella joins in the mockery of the Baron’s bad judgment.

[Sc. 7: The Chinese Ambassadors sing “Allasame,” followed by “Climb Up,” “Kiss, Kiss,” and “Twinkle, Twinkle, Little Star.” It is midnight, and Cinderella takes off to a Chorus of Pages singing from “Le Petit Duc.” The Prince finds the tiny slipper. Clorinda calls it too large for her, but the Prince unveils his plan. Clorinda tries it on anyway, to no avail. Then Cinderella tries. It fits exactly, despite Dandini’s mockery. Clorinda and Thisbie can’t believe their senses and put the blame on the lager beer. Final song: “Apple of My Eye.”]

Farmer, John (1836-1901). Cinderella: A Fairy Opera in Four Acts. With words by Henry S. Leigh. Harrow [Middlesex]: J. C. Wilbee, 1882. Vocal score 154 pages. Cast: Chorus of good fairies, Cinderella, Prince Maribel, Dr. Malatesta, Priscilla and Tabitha (the cruel sisters), the Fairy Queen, Baron Pomposo, huntsmen, and courtiers.

[Five page overture. Act I. Sc. 1: Forest by moonlight. At the back, a Prince’s Castle, with view of town to the left. A group of Fairies are discovered at the rise of the curtain singing “The Sunshine is over, the night is before us, no mortals are near.” Then the Chorus sings “In Yonder Sleeping City,” which tells of a sleeping and weeping maiden, her path unlighted by hope’s protecting ray. The fairies will be her protectors.

[Sc. 2: Sunrise. Shepherds are heard playing in the distance. Enter Cinderella carrying flowers and singing “Brightly, gaily, breaks the morn.” She thinks of her hard lot, her cruel sisters, her kind father who lavishes goods upon them, and her departed mother on whose grave she places violets. The Prince enters thinking he must be seeing a vision and sings “Dearest, fairest, ne’er till not Love in his tyrant fetters hath bound me…” Malatesta enters quietly, overhears the Prince’s song and warns him in recitative, “May it please your royal highness,” that flirtation is a pretty pastime but love and beauty dangerous wiles; pop the question to some princess, and leave the peasant girls alone. The Prince comments on the Doctor’s lack of natural sentiment, but Malatesta warns the Prince of the scandal that would ensue. Huntsmen enter with a chorus of “The hunt is up.”

[Act II: The Kitchen in the Baron’s Manor. Evening. Cinderella is discovered sitting gloomily by the fire. She sings “The night is falling fast,” which laments the gloom of her life and wishes some fairy might help her. Priscilla and Tabitha enter in ball dresses and dance a practice minuet together–“Come, take your partners all”–then mock Cinderella. A knock at the door. The Fairy Queen enters as a beggar woman and sings “Kindly, good ladies, give ear.” The sisters scorn her for daring to disturb their peace, but Cinderella gives her bread and milk. The Fairy blesses her. The Baron enters in ball dress, cursing women for making him wait. He sings “The women are always a bother.” Priscilla and Tabitha join in, accusing men of always being in a hurry. The sisters depart, and the Baron lingers to apologize to Cinderella for leaving her alone, but “there are circumstances…” Alone, Cinderella looks out the window and watches the palace lights in the distance. She hears the music and yearns for sleep. After a gavotte fairies appear singing “Dream, brightly dream.” They awaken Cinderella to the ful-fillment of her wishes. The Fairy Queen warns her after the transformation, “Take your time from us precisely,” a recita-tive and song through which she instructs Cinderella in dancing. Cinderella would gladly walk to the Palace–it’s only five minutes away–but FQ provides a carriage along with an admonition to leave before midnight. Chorus: “Haste away!”

[Act III: Ballroom at the Palace. The Prince is seated on a raised throne with canopy surrounded by Ladies and Gentlemen of the Court, with Guards at the back. Two staircases lead to the Conservatory. A processional march. Then the Baron and his daughters enter, which provokes anxiety from Malatesta that the Prince might choose someone other than a princess. Children sing a quadrille “O, my love’s like the red, red, rose,” which is interrupted by Cinderella’s entrance. The Prince advances and takes her hand. A minuet is formed, and the Prince and lady discourse in recititive, with chorus encouraging the dance. Love talk in song, with Cinderella nervous about the time. At midnight she flees through the Conservatory, dropping one of her slippers on the stair. The Prince pursues, but too late: The enchantress has escaped. Chorus: “Come, let the dance and song beguile the time before us” as they dance until dawn.

[Act IV, Sc. 1: The Baron enters his hall with the two yawning sisters. He sings, “I, who nightly like to toddle.” It is well past noon. The sisters lament the appearance at the ball of the mysterious women with a scolding duet: “When a maiden is young.” A herald, guards, and Malatesta enter announcing the slipper search. He sings “On moral force no sage relies.” The Prince and his courtiers enter and the sisters appear finely dressed to meet him. The Baron welcomes the courtiers, but the sisters shut him up. So does the Prince who accuses him of equivocating and demands to see Cinderella. Cinderella appears in rags, protesting that the Prince must be making some mistake. But he takes her hand, puts the slipper on her, and announces his bride to the court. After laments and many a “foiled again!” from Malatesta and the sisters, exeunt omnes shouting “Long live the Prince and Princess.” The happy couple lingers to sing a duet, “Dearest and loveliest.” In finale the scene opens at back discovering the fairies with the Queen at the center singing “Farewell, ye loving souls.”]

Massenet, Jules (1842-1912). Cendrillon. Paris, 1899.

Cast: Baron Pandolfe (baritone), his daughter Cinderella (soprano), the King (baritone), Prince Charming (soprano), Madame de la Haltière (mezzo-soprano), her daughter Noémie (soprano), her daughter Dorothée (mezzo-soprano), the dean of the faculty, the superintendent of players, the prime minister, a herald, servants, courtesans, doctors, ministers, lords and ladies, and six spirits.

[Opera in 4 acts; based on Perrault. Book by Henri Cain. Synopsis: Act I: At the home of Madame de la Haltière. A great room; on the right a large fireplace and chimney. Pandolfe laments the tumult of his life with Madame de la Haltière and her daughters, and deplores his state and that of Cinderella. Madame, anxious to get her aging daughters married, is eager to set out for the ball. She rouses Pandolfe and they leave. Cinderella comes in exhausted, sits by the hearth, and falls asleep. As she dreams by the fire, fairies appear and make her a dress of moonbeams, then awaken her. Amazed that her dream is a reality she sets out for the ball in her shining robe in a coach with attendants. The fairy godmother warns her that she must return promptly on the stroke of midnight.

[Act II: At Court. The hall of the festivities and the royal gardens. All brightly illuminated. Prince Charming sits unhappily on his throne, for he has no sweetheart. The courtiers–the Dean of the Faculty, Doctors, Prime Minister, Daughters of the Nobility in Ballet, etc.–try to divert him but without success. Madame de la Haltière and daughters arrive. But when Cinderella enters to the sound of fairy music the Prince perks up. They gaze at one another, talk, and prove to be great companions. Finally, they tell each other of their love. At midnight she flees and the Prince is left with nothing but the glass slipper to confirm the dream.

[Act III, Sc. 1: At the home of Madame de la Haltière. Cinderella laments the loss of her slipper. She withdraws to her room as the rest arrive home. They discuss the strange woman. Cinderella returns to question them about the event, and they become increasingly hostile against the mysterious person. Cinderella is upset by their anger, especially as they turn it toward her father. He takes her in his arms and tells them to stop all their noise. The three women leave the room in hysteria while Pandolfe consoles Cinderella. He acknowledges that he has done her a great wrong in obeying his ambitious wife by taking her to the court and promises to take Cinderella back to their quiet country place where they might live in peace. After he leaves Cinderella determines to go away alone so that her father won’t be burdened by her misery. She grieves that she will see neither the Prince nor her father again, says goodbye to the various pieces of furniture in the house, then leaves at night in a fierce thunder storm.

[Sc. 2: The woods under a great oak. Both Cinderella and the Prince take refuge under the oak over which the fairies preside, but without seeing each other. Both address prayers to the Fairy, Cinderella asking for pardon for the pain she has caused her father, and the Prince for relief for the pain he feels having lost Cinderella. She hears his prayer and thinks his misery is greater than hers. So she prays for him. They recognize each other’s voices and rejoice as the Fairy gives them power to see each other again. A magic sleep falls upon them as they are lulled by the fairies.

[Act IV, Sc. 1: The terrace of Cinderella’s home. A spring morning. Pandolfe comes upon Cinderella sleeping. She awakens as if in a dream to his presence. He tells her that she was talking in her sleep to Prince Charming, whom he thinks she has never seen. A chorus of young girls greet Cinderella as her father brings her home. Madame de la Haltière enters telling them that she and her daughters have been summoned by the King. The herald has pro-claimed that the Prince will marry the one whom the slipper fits. Cinderella is jubilant–her dream is coming true.

[Sc. 2: The King’s Palace. The Court of Honor. Bright sunshine. The Princesses are there for the fitting. The Prince announces that he does not see the one he desires. Then the Fairy tumultuously intervenes, and Cinderella stands before him in splendor. They greet each other rapturously, and all rejoice that their Prince is once again joyous. Pandolfe and the three other women enter, and all greet Cinderella tenderly, especially Madame de la Haltière. “Ici tout finit bien.”]

-----. Cendrillon. Libretto in English and French. New York: G. Schirmer, 1911.

Martin, Warren. The True Story of Cinderella (1955). For 12 Solo Voices, Chime, Narrator, and Piano. Princeton: Westminster Choir College, 1984.

[Composed in 1955 at the request of students to provide a May Day entertainment. The premiere at the Westminster Choir College was performed by 13 graduate students with the composer at the piano. The chime part was added a few years later. Martin’s score was published after his death in 1982. The full score is in his own hand, and was sold with a cassette tape to show the composer’s intent as to performance style and timing. The score specifies that this Cinderella is not a staged work but is sung in oratorio style with the singers in a row across the front of the platform, facing forward, not playing to or looking at each other. The singers are seated in the following order (from left to right): Queen, King, Stepmother, 1st Stepsister, 2nd Stepsister, Cinderella, Prince, Fairy Godmother, 1st Hermit, 2nd Hermit, 3rd Hermit, Herald. Where the narrator stands is not specified.

Synopsis: The queen sings of her royal highnessty from the dynasty of Richard Coeur de Lion; the king, in duet tells how he, like a bald eagle, looks down on the lowly plebeians. The young prince suffers from a malady that has caused him to lose his voice, but one which may be cured at the sound of the voice of a beautiful woman. So a ball is proclaimed. In a farmhouse lived a proud old widow whose “husband was good lookin’, Twas a shame he had to die; they say it was my cookin’.” She has a pair of repulsive daughters who are mean to their mother. One is roisterous, boisterous and built like a house; the other is driveling, sniveling and built like a beanpole. Cinderella is so sweet, “who could but love me?” but she is left alone to cry and cry and cry and cry, and do all the work, etc. In a duet her fairy godmother appears and suggests that maybe she will get to kiss the prince. In a trio the stepmother and stepsisters dress and set out for the ball. The fairy godmother returns and in an interlude the narrator explains how the pumpkin is fetched, along with mice, and all are transformed as is Cinderella as well; he tells of the midnight warning then segues back to the duet of thank you’s and goodbyes by Cinderella and the godmother. At the ball the queen sings an amusing song about her laryngitis and the stepfamily sings an aggressive song about their wretchedness. Then Cinderella arrives and meets the prince who immediately finds his voice and proposes marriage. They pledge their love while the stepsisters curse, the king congratulates and the queen jubilates. The herald announces the dance, and they dance and dance until midnight approaches. After a tender (extended) goodbye the chime sounds and Cinderella flees. For months the prince wanders seeking her. A hermit sends him to another hermit who sends him to a third, who knows of a Phoebe Beebe who, he imagines, might take care of a booby like himself. The prince goes to that farmhouse, finds Cinderella, and they return to court. The stepfamily finds the situation to be hopeless and miserable, but Cinderella brings them along and in the finale the ensemble celebrates the national holiday as Cinderella and the prince marry, and the first hermit chooses the fat stepsister, the second hermit takes the stepmother, and the third chooses Phoebe, he having known that farmer named Beebe. The herald feels left out - until the godmother appears and declares her love for him, honey lamb, and they all live happily ever after as the ensemble tells the audience that they may all be happy too.]

La Cenerentola. Glyndebourne, England. Opened 16 July 1959. Produced by the Glyndebourne Festival Opera Company. Libretto by Jacopo Ferretti; English translation based on the original production by Carl Ebert. Production design by Oliver Messel. The Royal Philharmonic Orchestra, conducted by Vittorio Giu.

Cast: Teresa Berganza (Angelina), Juan Oncina (Don Ramiro), Sesto Bruscantini (Dandini), Ian Wallace (Don Magnifico), Silvana Zanolli (Clorinda), Miti Traccato Pace (Thisbe), Hervey Alan (Alidoro).

La Cenerentola. Sadler’s Wells Theatre, London. Opened 25 October 1959. Produced by the Sadler’s Wells Company. English libretto by Arthur Jacobs. Director Douglas Craig. Scenery and Costumes by Carl Toms. Musical conductor: Bryan Balkwill.

Cast: Patricia Kern (Angelina), Alexander Young (Don Ramiro), Denis Dowling (Dandini), Howell Glynne (Don Magnifico), Nancy Creighton (Clorinda), Anna Polick (Thisbe), Stanley Clarkson (Alidoro).

La Cenerentola. Festival Theatre, Stratford, Ontario. Opened 10 June 1968. Produced by the Stratford Festival of Canada. Artistic Directors, Jean Fascon and John Hirsch. Libretto by Jacopo Ferretti. English transolation by Arthur Jacobs. Directed by Douglas Campbell. Production design by Leslie Hury. Lighting by Robert Reinholt. Musical director: Lawrence Smith.

Cast: Patricia Kern (Angelina), JeanLouis Pellerin (Don Ramiro), Robert Savoie (Dandini), Howell Glynne (Don Magnifico), Gwenlynn Little (Clorinda), Muriel Greenspan (Thisbe), Peter Van ginkel (Alidoro), Anne Marie Clark, Nancy Gottschalk, Muriel James, Peter Milne, David Norris, Danielle Pilon, Oscar Raulfs, Herman Rombouts, Rene Rosen, Donald Rutherford, Daniel Tait, Leslie Westman (Chorus).

Fox, Phylis Ward. Cinderella: A Musical. Music and lyrics by David Coleman. Chicago: The Coach House Press, 1978.

[For synopsis see the entry under Pantomime (1978).]

Davies, Peter Maxwell (1934-). Cinderella: An Opera in Two Acts for Children to Play and Sing. London: Chester Music, (c. 1980).

[See the entry under Pantomime. This operetta was first performed on 21 June 1980 at the St. Magnus Festival in Orkney by pupils of the Papdale Primary School and Kirkwall Grammar School, conducted by Glenys Hughes. Duration about 50 minutes. The original orchestra included three recorders, a Bb trumpet, six percussion players (including two glockenspiels, three xylophones, chime bars, drums of various kinds, cymbals, wood blocks, bongos, railway guard’s whistles, a balloon for squeaky sounds, sleighbells, dijeridu, tam tam, swanee whistle, sandpaper blocks, and heavy cardboard tubes to blow down to produce required grunting sounds), a piano, two violins, a viola, cello, and double bass. The cast includes: Cinderella, The Prince, The Cat, Widow Grumble, Three Ugly Sisters (Medusa, Hecate, Dragonia), Herald, The three Commanders-in-Chief of the Armed Services (Field Marshal Sir Wellington Bombast Blimp, Lord Admiral Sir Nelson Drake Victory, Lord Delta-Wing Vertical Tale-off), The Train (a chorus), Chorus of Kittens, Guests at the Prince’s dance (a dance troupe, who may also sing in the choruses). The opera begins with the train coming on stage with its toot toots and Cinderella inside, frightened and lonely, orphaned and having to leave home to come live with Widow Grumble.]

Opera Imaginaire. Produced by Sarah, Sue, and Tess Mallison. SA “F”3/Ina France, 1993.

[Twelve renowned arias and ensembles, enhanced by animation techniques, with introduction sequences by Pascal Roselin, narrator James Smillie. Cinderella occurs seventh in the sequence, a film by Stephen Palmer, which provides a visual fantasy for the sextet in Rossini’sLa Cenerentolaas performed by Orchestra del Maggio Musicale (Fiorentino, edition Decca 433032), with animation by Stephen Palmer. The visual transformations of Rossini’s characters in their aggressions against each other are striking and enhanced by other fairy tale transformations as well, which compete for Cinderella’s space.]

Eiley, Tim. The Splott Cinderella. Libretto by John Lovat. Music by Tim Eiley. Performed at the Star Centre, Cardiff. December 1993. Directed by Iain Stuart-Ferguson. Choreography by Iain Stuart-Ferguson.

Cast: Natasha Buckeridge (Cinders), Wayne Assiratti (rock guitarist Prince Charming), Fiona Conlon (Stepmother), Vicky Ferda and Michelle Marshall-Davies (Stepsisters), Clive Weston (King), Chris Griffiths (Master of Revels). Acrobatics, stilt-walking, trapeze, juggling, tumbling by No Fit State Circus.

[A Welsh National Opera project. “Having staged Rossini’sLa Cenerentolafor a long small-venue tour, Massenet’sCendrillonfor a No. 1 tour, Peter Maxwell Davies’ pantoCinderellafor a four-major-venue tour, WNO has now presented three sell-out performances of The Splott Cinderella…. That is more than 100 performances (all sung in English) of operas based on the best-loved of fairy tales by four very different composers and encompassing musical styles from 1817 to 1993”–Jon Holliday,The Stage, 6 Januanry 1994, p. 21.]

[For information on Rodgers and Hammerstein I have relied mainly on Stanley Green, ed. Rodgers and Hammerstein Fact Book: A Record of their Works Together and with Other Collaborators, New York: The Lynn Farnol Group, Inc., 1980. The materials on Hammerstein and Rodgers, in their various combinations with Herbert Stothart, Rudolf Friml, Jerome Kern, and Lorenz Hart are arranged chronologically. Not all the musicals cited here derive from these teams of musicians, of course, nor are they necessarily strictly Cinderella stories. Another main source for detailed production information on Cinderella musicals early in the twentieth century detailed below is Alvin H. Marill’s excellent section on “Cinderella,” in More Theatre: Stage to Screen to Television. Vol. I: A-L. Metuchen, N.J., and London: Scarecrow Press, 1993, pp. 324-376. I have included adaptations if they include several of the basic components of a Cinderella plot or if the reviewers identify them as Cinderella stories. In the 1920s and 1930, many of the more successful musicals were converted into movies; those adaptations are detailed under Movies and TV.]
The Catch of the Season. Vaudeville Theatre, London. Opened 9 September 1904. 616 performances. Produced by A. & S. Gotti and Charles Frohman. Book by Seymour Hicks and Cosmo Hamilton, based on the fairy tale Cinderella. Director Seymour Hicks. Music by Herbert E. Haines and Evelyn Baker. Lyrics by Charles H. Taylor. Scenery by William Harford. Choreography by Edward Royce. Musical Director: Howard Garr. Stage Manager: George Fiedler.

Cast: Zena Dare, succeeded by Maie Ash, Ellaline Terriss, Phyllis Dare, Madge Crichton (Angela), Seymour Hicks, succeeded by Stanley Brett (Duke of St. Jermyns), Hilda Jacobson, succeed by Hilda Jeffreys, Florence Lloyd, Gladys Ward (Higham Montague), Compton Coutts (William Gibson), Charles Daly (Sir John Crystal), Mollie Lovell, succeeded by Ethel Matthews (Lady Crystal), Rosina Filippi (Lady Caterham), Philip Desborough, succeeded by Ralph Westcomb-Penney (Almeric Montpelier), Sam Sothern, succeeded by Vera Smith (Lord Dundreary), Mervyn Dene (Captain Rushpool), Cecil Kennard, succeeded by Philip Desborough (Lord Yatton), Barbara Dane (Miss Caw), Ethel Matthews, succeeded by Olive Morrell, Louie Pounds (Hon. Sophia Bedford), Ruby Day (Duchess of St. Jermyns), Kate Vesey, succeeded by Elsie Kay (Enid Gibson), Lily Maynier (Princess Schowenhohen-Hohenschowen), Helene Blanche, succeeded by Andres Corday, Irena Langlois (Clotilde), Master A. Valchera (Bucket), William Jefferson, succeeded by Cecil Tresilian (First Footman), C. J. Evans, succeeded by H. N. Mason (Second Footman), William Jefferson, R. Williams, J. Henry, Ralph Westcombe-Penney, R. Drewitt, C. J. Evans (Guests); Hilda Jeffreys, Lily Mills, G. Karri, Elsie Kay, Kathleen Dawn, Marle Ashton, Marion Cecil, Irene Allen, Barbara Roberts, Alexandra Carlisle (Gibson Girls); Winnie Hall, Winnie Geoghegan, Alice Dubarry, Crissy Bell (Bridesmaids); Lily Eyton, Edith Lee, Munro Ross, Ida Mann, Stella de Marney, Maie Ash, Clara Webber, Lily Maynier, Evie Carrington, Jennie Bateman, Elsie Melville, Genee Hayward (Guests).

Musical Numbers:“All Done by Kindness,” Little Bit of Dinner,” “Back to Harrow,” “Cinderella,” “Auf Wiedersehen” (W. T. Francis), “Seaweed” (Fred Earle), “Raining,” “Won’t You Kiss Me Once Before You Do?” (Kern and Harris), “Cupid is the Captain of the Army” (Dave Reed, Jr.), “Around the World (Cass Freeborn and Grant Stewart), “Edna May’s Irish Song” (“Molly O’Halleron”).

The Catch of the Season. Daly’s Theatre, New York. Opened 28 August 1905. 104 performances. Produced by Charles Frohman. Book by Seymour Hicks and Cosmo Hamilton, based on the fairy taleCinderella. Directed by Ben Teal. Music by Herbert E. Haines and Evelyn Baker. Lyrics by Charles H. Taylor. Scenery by Ernest Gros. Choreography by Edward Royce.

Cast: Edna May (Angela), Farren Soutar (Duke of St. Jermyns), Fred Kaye, succeeded by George Frothingham (Lord Bagdad Monteagle), Fred Wright, Jr. (William Gibson), W. L. Branscombe (Sir John Crystal), Annie Esmond (Lady Crystal), Maud Milton (Lady Caterham), Jack H. Millar (Almeric Montpelier), Frank Norman (Captain Rushpool), Bert Sindon, succeeded by Harry Hudson (Lord Yatton), June May (Hon. Sophia Bedford), Margaret Greet (Princess Schowenhohen-Hohenschowen), Dora Sevening (Clotilde), James F. O’Sullivan (Hon. William Dorking), Vivian Vowles (Ermytrude Dorking), Master Louis Victor (Bucket), Vivian Graham (Badminton), Lilian Burns (Lady Louis D’Orsay), William Jefferson (First Footman), C. J. Evans (Second Footman), Leroy Berry, Talleur Andrews (Guests), Dorothy Zimmermann, Gladys Lockwood, Ethel Kelly, Dorothy Reynolds, Ethel Fillmore, Muriel St. Quinten, Enid Gibson, Violet Conrad, Evelyn Powys, Adele McNeil, Sylvia Egan (Gibson Girls).

[For musical numbers see previous entry on the London production.]

A Stubborn Cinderella. Broadway Theatre, New York. Opened 25 January 1909. 88 performances. Produced by Mort H. Singer. Book by Frank B. Adams and Will H. Hough. Directed by George Marion. Music by Joseph E. Howard. Scenery by Gates and Morange. Costumes by Will R. Barnes. Musical Director William Loraine.

Cast: Sallie Fisher (Lady Leslie), John Barrymore (“Mac”), Charles Prince (Fat), Alice Dovey (Lois), Helen Salinger (Lady Evelyn), Dorothy Brenner (Sallie), Alan Brooks (Tutor), Robert Harrington, succeeded by Bobby Barry (Skeeter), Charles Rankin (Thaddeus Leonardo), James C. Marlowe (Colonel Hunt), Don Merrifield (The President/An Indian), Ben Turbett (Police Sergeant/An Engineer), Charles Wedlake (Officer/Porter), John Wheeler (Cab Driver), Clarence Lutz (Grid), Frank Magin (Hotel Manager). Misses Adams, Baker, Boswell, Cecil, Carleton, Cummings, Deskaw, Downing, Edwards, Everette, Feltes, Francis, Gilbert, Harrington, Horlock, Harris, Hubbard, Le Clare, Lockwood, Merrill, Miller, Moon, A. Hotter, H. Notter, Oty, O’Day, Porterfield, Rodriguez, Stephenson, Stone, Stoy, Vose, Webb, White, Younge (Show Girls). Messrs. Damarel, Diamond, Gates, Hamilton, Headley, Hutchins, Lansky, Lasher, Lutz, Merrill, McDermott, McKittridge, Murray, Sampson, Wood, Yorkshire (Boys).

Musical Numbers: “Love Me Just Because,” “Don’t Be Cross With Me,” “I’m in Love With All the Girls I Know,” “None But the Brave Deserve the Fair,” “The Land of the Sky,” “Adios, Senorita,” “Don’t Be Anybody’s Moon But Mine,” “Cinderella,” “Dream Minuet,” “Don’t Teach Me to Swim Alone,” “If They’d Only Let Poor Adam’s Rib Alone,” “The Orange Fete,” “When You First Kiss the Last Girl You Love.”

Our Little Cinderella: A Musical Play. Playhouse Theatre, London. Opened 20 December 1910. Written by Leo Trevor. Music by Herman Lohr. Lyrics by Arthur Wimperis.

Cast: Margery Maude (Cinderella), Herbert Bromilow (The Prince), Dorothy Dayne (Witch Hazel), Cyril Maude (Lord Punterfield), H. Robert Averell (Hurlingham), Neville Knox (Roehampton), Rix Curtis (Ranelagh), John Harwood (Lord Chamberlain), Maidie Hope (Mrs. Bloomer), Ethel Morrison (Marathon), Emma Chambers (Crecy), Renee Mayer (Fairy Teenie Wee), Nora Roylace (Fairy Icklesing), Marcella Kreutz (Fairy Squibb), Beatrice Griffiths (Fairy Tinymite), Dorothy Turner (Fairy Wiggley Wog), Dolly Summers (Coachman), Lillian Drew, Kathleen Hayes, Muriel Hall, Nora Laming, Eva Rowland, Gertrude Hanne, Hilda Harita, Dorothy Lane, Doris Champneys, Violet Lingard, Lillian Bell, Clarissa Batchelor, Elsie Spencer, Patrick Murray, Percival Thorne, Wilfred Essex, Kingsford Shortland, Albert Derrick, Charles Stedman, George Gregson, Otto Alexander (Fairies, Guests, Huntsmen, Trumpeters); Henry J. Ford (Messenger).

The Lady of the Slipper; Or, A Modern Cinderella. Globe Theatre, New York. Opened 28 October 1912. 232 performances. Produced by Charles Dillingham. Directed by R. H. Burnside. Book by Anne Caldwell and Lawrence McCarty. Music by Victor Herbert. Lyrics by James O’Dea.

Cast: Elsie Janis (Cinderella), David C. Montgomery (Spooks), Fred A. Stone (Punks), Douglas Stevenson (Crown Prince Maximilian), Vivian Rushmore (Fairy Godmother), Charles Mason (Baron von Nix), Edgar Lee Ray, replaced Vernon Castle (Atzel), Ailene Carter (Romneya), Samuel Burbank (Albrect), Florence Williams (Sophia), Lillian Lee (Dollbabia), Queenie Vassar (Freakette), Peggy Wood (Valerie), Edna Bates (Irma), James Reaney (Captain Ladislaw), Eugene Revere (Prince Ulrich), David Abrahams (Mouser), Harold Russell (Louis), Lillian Rice (Maida), Angie Wiemers (Gretchen), Edgar L. May (Joseph), Don Abrahams (Don the Dog), Lydia Lopoukowa (Premier Danseuse), Marie Gordon,Marion Henry, Estelle Richmond, Marguerite St. Clair, Carol Lynn, Claire Bertrand, Gladys Feldman, Selma Mantell, Esther Lee, Kathryn Daly, Isabel Falconer, Olive Carr, Edna Dana, Evelyn Conway, Alice Keene, Anna Stone, Mazie LeRoy, Lola Curtis, Dolly Filly (Ladies-in-Waiting, Oriental Women of the Harem); R. C. Bosch, R. C. Bell, Harry Silvey, John Roberts, J. F. Johnson, Joseph Donnelly (Soldiers, Courtiers); Ethel Rose-bud, Lottie Crossland, Maud Crossland, Phyllis Erroll, Violet Horlock, Mattie Cronin, Marjory Graham, Annie Ray (Dancing Girls); Marie Walsh, Helen Shea, Irene Kearney, Alice Moriarty, Marion O’Neill, Myrtle Zeigler, Adelaide Zeigler, Josephine Taylor, Sadie Howard, Margie Moriarty, Ida Goldstein, Emily Callen, Helen Ward, Helen Elsworth, Mazie Goss, Jeanette Wollenberg (Corps de Ballet); Agnes McCarthy, Evelyn Whalan, Juliet Strahl, Marie Carroll, Joe Quinn, George Phelps, Charles Jackson, Herbert Zeigler (Halloween Kiddies).

Harlequinade: David C. Montgomery, Fred A. Stone (Harlequins), Lillian Rice, replaced Vernon Castle (Columbine), David Abrahams (Cat), Ed Randall, George Phelps (Policemen).

Musical Numbers: “Once Upon a Time,” “Fond of the Ladies,” “Meow! Meow! Meow!” “Love Me Like a Real, Real Man,” “All Halloween,” “Witch Ballet,” “Princess of Far Away,” “At the Bal Masaque,” “Them Was the Childhood Days,” “Youth,” “Bagdad,” “Little Girl at Home,” “Punch Bowl Glide,” “The Drums of the Nations,” “The Lady of the Slipper,” “Cinderella’s Dream,” Put Your Best Foot Forward, Little Girl,” “And They Lived Happily Ever Afterwards.” Dropped from production: “The Garden Party,” “The Voice of the Waltz,” My Russian Girlski,” “Reuben Glue.”

Oh Look! A Musical Comedy with The Dolly Sisters and Harry Fox. Staged by Robert Milton and Edward Royce. Book by James Montgomery. Music by Harry Carroll. Lyrics by Joseph McCarthy. Produced on Broadway and at the LaSalle Theatre, Chicago, in 1918.

Musical Numbers: “A Kiss for Cinderella” (see the entry under Sheet Music), “I’m Always Chasing Rainbows,” “I Think You’re Absolutely Wonderful,” “When I Marry,” “The Dolly Twinkle,” “Wherever There’s Music and Beautiful Girls.”

Irene: A Musical Comedy in Two Acts. Book by James Montgomery. Lyrics by Joseph McCarthy. Music by Harry Tierney. Opened on Broadway in 1919. First performance in Great Britain at the Empire Theatre, London, 5 April 1920. Produced and staged by Tom Reynolds. Musical director: Frank E. Tours. Cast:Mrs. Marshall Maidie Hope), Eleanor Worth (Daisy Hancox), Donald Marshall (Pat Somerset), Clarkson (Chas. Alexander), Robert Harrison (Robert Blythe), Irene O’Dare (Edith Day), Lawrence Hadley (Hubert Neville), Mrs. O’Dare (Helen Kinnaird), Helen Cheston (Margaret Campbell), Jane Gilmour (Winnie Collins), J. P. Beaudon (Robert Michaelis), Madame Lucy (Robert Hale), Mrs. Cheston (Bertha Belmore).

Synopsis of scenery: Act I, Sc. 1: Donald Marshall’s home. Sc. 2: The O’Dares’ home. Sc. 3: Donald Marshall’s home two days later. Act II, Sc. 1: The O’Dares’ home two months later. Sc. 2: The Garden of Beaudon’s home. Sc. 3: The O’Dares’ home after midnight. Sc. 4: The same as Sc. 2.

[An Irish working girl becomes a fashion model and, after ruining Mme. Lucy’s dress, stuns everyone at the ball in her mother’s Alice-blue gown. After several twists of fortune she chooses between her two suitors and agrees to marry “Madame Lucy.” See the film adaptation under Movies and TV.]

Cinderella On Broadway: A Fantasy of the Great White Way. Winter Garden Theatre, New York. Opened 24 June 1920. 126 performances. Produced by Lee and J. J. Shubert. Directed by C. Huffman. Dialogue and Lyrics by Harold Atteridge. Music by Bert Grant. Incidental Music by Al Goodman. Art Director, Watson Barratt. Costumes by Cora McGeachy, Homer Conant, S. Zalud, and Madame Haverstick. Dance Numbers staged by Allan K. Foster. “The Top of the World” and “The Circus” designed by Homer Conant. Musical director: Oscar Radin.

Scenes and Cast: Prologue: Al Sexton (Broadway), Norma Gallo (Peter Pan), James Daly (Old King Cole), John Kearns (Santa Claus), Arthur Cardinal (Jack Horner), Roger Little (Jack in the Box), Joe Neimeyer (A Toy), Byron Halsted (Whistle), Georgie Price (Tad), Eileen Van Biene (Cindy), Stewart Baird (Prince Charming), Jessica Brown (Joy), John T. Murray (Gloom), Renee Dentling (Beauty), The Glorias (Themselves), Marie Stafford (Marie), Charlotte Sprague (Charlotte), Mildred Soper (Mildred), Lyola White (Lyola), Florence Elmore (Mrs. Content), Jane Green (Jane). Cafe de Paris: Bert Savoy (Mlle Pretty), Jay Brennan (Baron Rock).Humpty Dumpty Lane:El Brendel (Yonson), Flo Burt (Miss Moffet), Georgie Price (Simon), Eileen Van Biene (Cindy), Joe Neimeyer (Jack), Al Sexton (Jill), Florence Elmore (Mrs. Content). The Husband and the Friend: Al Sexton (Broadway), Albert Howson (The Husband), Renee Dentling (The Wife), George Baldwin (The Friend), Walter Brower (The Other Man). Anywhere: Walter Brower (Artie). Sweetie Land: Olga Cook (Sweetie). The Devil Examines His Accounts: John T. Murray (Gloom), Stewart Baird (Prince), Renee Dentling (Princess). The Top of the World: Dorothy Bruce (A Vampire), Flo Summerville (The Joker), Isabelle Holland (Dice), Grace Keeshon (Queen of Hearts), Mae Deveraux (Jack of Hearts), Lyola White (Ace of Diamonds), Ann Delmore (Queen of Spades), Mae Daley (Misfortune), Louise Wayne (Poverty), De Anguilliar (Hope Abandoned), Mar McCreary (Vice), Madge McCarthy (Shame), Mildred Soper (Hope Gone Wrong), Marie Farrell (Degradation), Llora Hoffman (Voice), Maryon Vadie (Laughter), Constantin Kobeleff (Dance), Violet Gleason (Another). Honeymoon Cottage: El Brendel (Yonson), Flo Blurt (Miss Moffet). The Silver Slipper Ball:Roger Little (Butler), Georgie Price (Tad), Jessica Brown (Joy), George Baldwin (Hal), Walter Brower (Artie), Renee Dentling (Beauty), Stewart Baird (Prince), Billy Wagner (Maid), Eileen Van Biene (Cindy), John T. Murray (Gloom), Llora Hoffman (Miss Walz), Flo Burt (Miss Moffet), Al Sexton (Broadway), Joe Neimeyer (Jack), Prucella Brothers (Themselves), The Glorias (Themselves). The Old Music Masters: Stewart Baird (Prince), Albert Howson (Mendelssohn), Maryon Vadie (Spring Song”), Roger Little (Paderewski). The Glorias (“Minuet”), James Daly (Liszt), Mlle Vadie-Kubeleff (“Hungarian Rhapsodies”). Caproni Station: Eileen Van Biene (Cindy), John T. Murray (Inventor), Al Sexton (Broadway), George Baldwin (Hal), Olga Cook (Mary), Georgie Price (Tad), El Brendel (Yonson), Flo Burt (First Mate).The Circus:Eileen Van Biene (Cindy), John T. Murray (The Ring Master), Tarzan (Himself), Felix Patty (The Keeper), Mijares and Brother (Themselves). Lies: Norma Gallo (Peter Pan), Al Sexton (Broadway), Eileen Van Biene (Edith), George Baldwin (Ralph), Stewart Baird (Tommy), Flo Burt (Amy). The Primrose Path: Rene Dentling (Beauty), Stewart Baird (Prince).Out Front:John T. Murray (Gloom), Al Shayne (An Opera Singer), William Kinley (A Musician). Watteau Land: Olga Cook (Susie), Jessica Brown (Joy), Joe Neimeyer (Folly), Al Sexton (Broadway), El Brendel (Yonson), Flo Burt (Miss Moffet), Albert Howson (Minister), John T. Murray (Gloom). On Broadway: Al Sexton (Broadway), Georgie Price (Tad).

Musical Numbers: “Chair Ballet,” “Old King Cole,” “Beyond the Candle Light,” “All the Little Glooms Start Dancing,” “My Phantom Loves,” “Romantic Blues,” “Whistle,” “Cindy,” “Why Don’t You Get a Sweetie?” “Wheel of Fire,” “Roulette Dance,” “Minuet,” “The Last Waltz I Had With You,” “Cinderella on Broadway,” “Joy Dance,” “Any Little Melody,” “Old Music Masters,” “Lady of Mars,” “Primrose Path,” “Naughty Eyes,” “Girl Belongs to You,” “Precious Jewels.”

Oscar Hammerstein II:
Jimmie: A Musical Comedy. Book by Otto Harbach, Oscar Hammerstein II, and Frank Mandel. Music by Herbert Stothart. Lyrics by Harbach and Hammerstein. Presented by Arthur Hammerstein. Directed by Oscar Eagle. Choreography by Bert French. Costumes by Henri Bendel. Tryout at the Playhouse, Wilmington, 8 to 9 October 1920; Park Square Theatre, Boston, 11 October to 13 November 1920. New York run: Apollo Theatre, 17 November to 15 Janunary 1921. 71 performances.

Cast: Paul Porcasi (Vincent Carlotti), Dee Loretta (Madame Gambetti), Hattie Burks (Beatrice), Frances White (Jimmie), Don Burroughs (Tom O’Brien), Harry Delf (Milton Blum), Howard Truesdale (Jerry O’Brien), Ben Welch (Jacob Blum), Tom O’Hare (Watkins), Rita Owin (A Dancer), Irwin Rossa (A Violinist), Peter Mott (Peters), Raymond Oswald (Henri), Jack Heisler (Giuseppi), George Clifford (Antonio), Betty Marshall (Wanda Holmes), Mary Jane (Rose), Helen Neff (Henrietta), Tess Mayer (Blanche), Girls of the Ensemble.

Musical Numbers: “Baby Dreams,” “Below the Macy-Gimbel Line,” “Cute Little Two by Four,” “All That I Want,” “Carlotti’s,” “Jimmie,” “She Alone Could Understand,” “Don’ Yo’ Want to See de Moon?” “It Isn’t Hard to Do,” “Just a Smile,” “Do, Re, Mi,” “Some People Make Me Sick,” “I Wish I was a Queen,” “Toodle Oodle Um,” “A Little Plate of Soup.”

Musical Numbers Cut Before the Opening: “Try Me,” “That’s As Far As I Can Go,” “Cabaret Girl,” “Tum-Tiddly-Tum-Tum,” “Tu Carrisimo,” Ming Poo,” “Up Is a Long, Long Climb,” “Dig, Sister, Dig,” “Clothes.” “Rickety Crickety” was cut and put back in in January.

[Jimmie, the long-lost daughter of wealthy Jacob Blum, grows up under the oppression of her guardian, restauranteur Vincenzo Carlotti, who keeps her identity a secret and tries to pass his own daughter off as the missing heiress. But Jimmie works away, dreams, and on her own becomes a successful cabaret star. Eventually Carlotti’s deception is revealed, and Jimmie is reunited with her father. Critics panned the production for its old fashioned sentimentality, but the production toured successfully in Baltimore and Pittsburgh. The costumes were lavish and splashy. The production opened the Apollo. The New York Herald reviewer wrote: “The Selwyns have built a new theatre and Arthur Hammerstein has organized a company to surround Miss White that she may be a star… But it never used to be necessary to build playhouses for this sort of thing.” See Green, pp. 264-265, for other reviews.]

Daffy Dill. Book by Guy Bolton and Oscar Hammerstein II. Music by Herbert Stothart. Lyrics by Hammerstein. Directed by Julian Mitchell. Costumes by Charles LeMaire. Apollo Theatre, Atlantic City 14 to 19 August 1922. New York run: Apollo Theatre, 22 August to 31 October 1922. 71 performances. Toured at Shubert Theatre, Philadelphia, November 1922, and Providence, December 1922.

Cast: Arion Sunshine (Estelle), Genevieve Markam (Teacher), Irene Olsen (Lucy Brown), Ben Mulvey (School Inspector), Frank Tinney (Himself), Harry Mayo (Lucy’s Father, Dan Brown), Guy Robertson (Kenneth Hobson), Jacquelyn Hunter (Lucy’s Grandmother in 1867), Lynne Berry (Lucy’s Grandfather in 1867), Imogene Wilson (Lucy’s Mother in 1899), Rollin Grimes (Harry Jones), Georgia O’Ramey (Gertie), Specialty Dancers, Ladies of the Ensemble, and Gentlemen of the Ensemble.

Musical Numbers: “Let’s Play Hookey.” “Kindergarten Blues,” “Prince Charming,” Fantasy: “Cinderella Meets the Prince,” “Two Little Ruby Rings,” “My Boy Friend,” “I’m Fresh from the Country,” “I’ll Build a Bungalow,” “A Coachman’s Heart,” “Fair Enough,” My Little Redskin,” “Chinky Chink,” “Doctor,” Fantasy: “At the Stroke of Twelve, Cinderella Runs Away, Leaving Only a Glass Slipper,” Pantomime: “Pirate’s Gold,” “Captain Kidd’s Kids.” “One Flower That Blooms For You,” “Tartar,” and “You Can’t Lose Me” were cut before the opening.

[“An updated Cinderella tale about Lucy Brown, who is poor and old-fashioned, and Kenneth Hobson, who is determined to free himself from the bondage of his millions”–Stanley Green, p. 267. See Green, pp. 269-270, for the generally glowing reviews.]

Rose-Marie. Book and lyrics by Otto Harbach and Oscar Hammerstein II. Music by Rudolf Friml and Herbert Stothart. Presented by Arthur Hammerstein. Directed by Paul Dickey. Choreography by David Bennett. Apollo Theatre, Atlantic City, 18 to 23 August 1924. New York run: Imperial Theatre, 2 September 1924 to 16 Janunary 1926. 557 performances. Cast: Arthur Deagon (Sgt. Malone), Dorothy Mackaye (Lady Jane), Arthur Ludwig (Black Eagle), Frank Greene (Edward Hawley), Edward Ciannelli (Emile La Flamme), Pearl Regay (Wanda), William Kent (Hard-Boiled Herman), Dennis King (Jim Kenyon), Mary Ellis (Rose-Marie La Flamme), Lela Bliss (Ethel Brander), Ladies of the Ensemble, Gentlemen ofthe Ensemble. Musical Numbers: “Vive la Canadienne” (Stothart), “Hard-Boiled Herman” (Stothart) “Rose-Marie” (Friml), “The Mounties” (Friml-Stothart), “Lak Jeem” (Friml), “Indian Love Call” (Friml), “Pretty Things” (Friml), “Why Shouldn’t We” (Stothart), “Totem Tom-Tom” (Friml-Stothart), “Only a Kiss” (Stothart), “The Minuet of the Minute” (Stothart). “One Man Woman” (Stothart), “Door of Her Dreams” (Bridal Processional) (Friml), Bridal Finale (Stothart), Finale Ultimo at The Castle (Friml).

[Synopsis: This musical is not strictly speaking a Cinderella story, though it includes many components of that plot: A motherless girl with a kind but inept father making it on her own against all odds; a villainous male who functions as a sort of stepfamily to take from the girl what is rightly hers through false representation and malicious efforts at possession, success of the heroine through self-sacrifice, a climactic grand ball with all the extravagances of a hippo-drome/vaudeville/pantomime, a wedding processional, and final scene at “The Castle” with the long-suffering heroine in bliss. This melodrama capitalizes on the myth of romantic, high-minded Canadian mounties, Snidely Whiplash-like villains, and the lovely woman about to be victimized. In brief, Rose-Marie, star performer at Lady Jane’s Hotel in Saskatchewan, is adored by awestruck Mounties and trappers, but her heart belongs to Jim Kenyon, a hardworking trapper. The villainous Edward Hawley, wealthy and conniving, witnesses a murder and puts the blame on Jim, then promises to save him if Rose-Marie will consent to become Mrs. Hawley. She agrees to the proposal to save her beloved, but at the last minute the real murder is discovered, Hawley exposed, and the lovers reunited.]

Rose-Marie was an enormous success, with hundreds of performances by touring companies in dozens of American cities, revivals, productions abroad, London productions (the run at the Theatre Royal, Drury Lane, from 20 March 1925 to 26 March 1927, enjoyed 85l performances), and was recast in film versions in 1928, 1936, and 1954. James Agate, in theLondon Sunday Times, 22 March 1925, catches the moment: “There is the spectacle… But is there not melancholy in the thought that this whoppingest of monuments to inanity should have been raised on these boards?… The applause was cataclysmic and, in my view, the piece will run one hundred and eleven years and fifteen days.” For a listing of touring company performances and reviews see Green, pp. 291-304, and the feature article “Rosemarie They Still Love You,”Life, 22 February 1954].

Good Boy. Book by Otto Harbach, Oscar Hammerstein II, and Henry Myers. Music by Herbert Stothart and Harry Ruby. Lyrics by Bert Kalmar. Presented by Arthur Hammerstein. Book staged by Reginald Hammerstein. Dances by Busby Berkeley. Nixon’s Apollo Theatre, Atlantic City, 13 to 18 August 1928. Shubert Theatre, Philadelphia, 20 August to 1 September 1928. Hammerstein’s Theatre, New York, 5 September to 13 April 1929. 253 performances. Cast: Sam Hearn (Pa Meakin), Effie Shannon (Ma Meakin), Evelyn Bennett (Elvira Hobbs), Charles Butterworth (Cicero Meakin), Eddie Buzzell (Walter Meakin), Helen Kane (Pansy McManus), Lester Bernard (A. A. Stone), Ariel Millars (“New York”), Milton Douglass (“Manhattan”), Barbara Newberry (Betty Summers), Dan Healy (Bobby Darnell), Borah Minevitch (Jimmie), Dick Neely (Policeman), Stan Rock (Brakeman), Joseph Ames (Ticket Speculator), Maurice Tepper (Pawn Broker), Neil Vtone (Movie Theatre Doorman), Elsie Percival (Old Lady), Gus Quinlan (A Grafter), Virginia Chase (Miss Badger), Jack O’Hare (Hotel Clerk), Tom Martin and Arthur Sullivan (Bellboys), Gordon Merrit (Elevator Boy), Austin Clark (Trevor), Joseph Ames (Justice of the Peace), Bob Abbott (License Clerk), Muriel Greel (Landlady), Neil Stone (Theatre Doorman), Phil Daly (Theatregoer), William Meek (Theatre Treasurer), Louise Blakeley (Girl), Howard Raymond (Street Cleaner), Henry Corsell (Gob), Jean Unger (A Frail), Will Withe (Dago).

Musical Numbers:“Down in Arkansas,” “What Makes You So Wonderful?” “Good Boy,” “Voice of the City,” “Manhattan Walk,” “Some Sweet Someone,” “I Have My Moments,” “I Wanna Be Loved by You,” “The Three Bears,” “Oh, What a Man,” “Good Boy Wedding March.”

[Synopsis: A male Cinderella/Horatio Alger story. A youthful Walter Meakin leaves Arkansas for New York City with hopes of making it as an actor. He meets and marries an actress, Betty Summers, but loses her. He then makes his fortune and wins her back again.]


Richard C. Rodgers:

Poor Little Ritz Girl. Directed by Ned Wayburn. Music by Richard Rodgers and Sigmund Romberg. Lyrics by Lorenz Hart and Alex Gerber. Musical director: Charles Previn. Book originally by Henry B. Stillman & William J. O’Neil. New York run: Central Theatre, 28 July to 16 October 1920. 119 performances. Cast: Barbara Arden (Eleanor Griffith), Madge Merril (Lulu McConnell), Lillian Lawrence (Aileen Poe), “Sweetie” Annie Farrell (Florence Webber), William “Billy” Pembroke the wealthy bachelor (Charles Purcell), his pal Dr. Russell Stevens (Andrew Tombes), Billy’s aunt Jane De Puyster (Eugenie Blair), Barbara’s sister, Dorothy Arden (Ardelle Cleaves), a juvenile named Teddie Burns (Donald Kerr), a dancer Helen Bond (Elise Bonwit), the premiere danseuse Mlle. Lova (Dorothy Clements), Stage Manager (Grant Simpson).

[Barbara, a poor and unsophisticated girl from the South, comes to New York to dance in the chorus ofPoor Little Ritz Girl. After being oppressed by an unscrupulous janitor, she falls in love with Billy, the true owner of the apartment, and they settle the territorial problem by marriage. Songs include: “Poor Little Ritz Girl,” “The Midnight Supper,” “The Gown is Mightier than the Sword,” “You Can’t Fool Your Dreams,” “What Happened Nobody Knows,” “Love Will Call,” “All You Need to Be a Star,” “Mary, Queen of Scots,” and “I Surrender.” See Green, pp. 13-15, for reviews.]

The Garrick Gaieties. Music by Richard Rodgers. Lyrics by Lorenz Hart. Directed by Philip Loeb. New York run: Garrick Theatre, 10 May to 9 October 1926. 174 performances. [Musical numbers and sketches. Includes song entitled “The Glass Slipper.” See Green, pp. 44-47, for reviews.]

Peggy-Ann. Music by Rodgers. Lyrics by Hart. Book by Herbert Fields, based on a musical comedy “Tillie’s Nightmare” by Edgar Smith and A. Baldwin Sloane. Directed by Robert Milton. New York run: Vanderbilt Theatre, 27 December to 29 October 1927. 333 performances.

Cast: Mrs. Frost (Lulu McConnell), Mr. Frost (Grant Simpson), Dolores Barnes (Edith Meiser), Alice Frost (Betty Starbuck), Guy Pendleton (Lester Cole), Sally Day (Dorothy Roy), Peggy-Ann Barnes (Helen Ford), Arnold Small (Fuller Mellish, Jr.), Patricia Seymour (Margaret Breen), Freddie Shawn (Jack Thompson), a Policeman (Patrick Rafferty), Miss Flint (Marion Traube), a Sailor (Howard Eames), Mr. Fish (Harold Mellish), Steward (G. Douglas Evans).

[Peggy-Ann lives with her aunt in a boarding house in Glens Falls, New York. After quarrelling with her boyfriend she sleeps and dreams of adventures on Fifth Avenue and a yachting trip to Havana. When she awakens all is forgiven and she plans to marry Guy. Songs include: “A Little Birdie Told Me So,” “Charming, Charming,” “Where’s That Rainbow,” “I’m So Humble,” “Maybe It’s Me,” and “Give This Little Girl a Hand.” Enjoyed a London run of 130 performances at Daly’s Theatre July 27-November 19, 1927. In London reviewers generally objected to the crudity of “A Little Birdie Told Me So.” James Agate in theLondon Sunday Times, 31 July 1927, called it “Cinderella all over again, and Sir James M. Barrie’s Cinderella in particular.” See Green, pp. 54-55 and 57-58, for reviews.]

Present Arms.Music by Richard Rodgers. Lyrics by Lorenz Hart. Book by Herbert Fields. Choreography by Busby Berkeley. Directed by Alexander Leftwich. New York run: Lew Fields’ Mansfield Theatre, 26 April 26 to 1 September 1928. 155 performances. Cast:Top Sergeant McKabe (Jock McGraw), buck private Frank Derryberry (Franker Woods), buck private Chick Evans (Charles King), buck private McKenna (Fuller Melish, Jr.), buck private Gadget (Robert Spencer), sergeant Douglas Atwell (Busby Berkeley), Captain Wiggins (Richard Lane), tourist Edna Stevens (Joyce Barbour), tourist Fay (Rachel Chester), Lady Delphine Witherspoon (Flora Le Breton), her father Lord Oliver Witherspoon (Sydney Smith), Luana the native girl (Alma Ross), Herr Ludwig von Richter (Anthony Knilling) Maria (Florence Hunter), Hortense Mossback (Gaile Beverley), Daisy (Demaris Doré), Minerva the maid (Aline Green), Karl (Alexander Lewis), Elsa (Frances Hess), Moulika the fortune teller (Alma Ross).

[A male Cinderella story. “Chick Evans, a Marine from Brooklyn stationed at Pearl Harbor, woos and wins Lady Delphine Witherspoon, a titled English resident of the island. This is accomplished with the aid of his comrades in arms and a lively imagination, which all conspire to eliminate Herr Ludwig Von Richter as a rival for the lady’s affections”–Stanley Green. Songs include: “Tell it to the Marines,” “You Took Advantage of Me,” “A Kiss for Cinderella,” “Do I Hear You Saying ‘I Love You’?’, “Blue Ocean Blues.” Charles Brackett (New Yorker, 5 May 1928) called “A Kiss for Cinderella” Hart’s “most amusing lyric so far, which is saying a lot.” For other reviews see Green, pp. 88-90. Was made into a movieLeathernecking(1930), directed by Edward Cline. See Movies.]

Simple Simon.Music by Richard C. Rodgers. Lyrics by Lorenz Hart. Book by Ed Wynn. Directed by Zeke Colvan. New York run: Ziegfeld Theatre, 18 February to 14 June 1930. 135 performances. Cast:Bert Blue–Bluebeard (Paul Stanton), Bluebeard’s henchman Fingy (Alfred P. James), Jack Horner (Will Ahearn), Gilly Flower–i.e. Jill of Jack an Jill (Bobbe Arnst), Simple Simon–keeper of the Information and Newspaper Shop (Ed Wynn), Policeman (Anthony Hughes), Elaine King–Cinderella (Dooree Leslie), Olee King–King Cole (Lennox Pawle), Otto Prince (Hugh Cameron), Jonah–Genii (Master George Offerman), Tony Prince–Prince Charming (Alan Edwards), and a large cast of thirty other fairy tale characters, plus Ladies and Gentlemen of the Ensemble.

[“Although he is the proprietor of a newspaper shop in Coney Island, Simon prefers reading fairy tales to headlines. One night he dreams of Cinderella and her adventures in two kingdoms, Dullna ruled by Bluebeard, and Gayleria ruled by King Cole. The mean Bluebeard tries to capture Cinderella, but she is saved by Prince Charming who has come to her rescue with the aid of the Trojan Horse”–Stanley Green. Songs include “Magic Music,” “I Still Believe in You,” “Send for Me,” “I Love the Woods,” “On With the Dance,” “I Can Do Wonders With You,” “Ten Cents a Dance,” “Kissing Forest Ballet,” “Rags and Tatters,” “Cottage in the Country.” Robert Benchley (New Yorker, l March 1930) labelsSimple Simon“a Mother Goose story of such banality as to affront even the children for which it is written, and a series of some of the highest-pensioned gags in the G.A.R.… And yet under the benign touch of Ed Wynn, the whole thing becomes a riot of rich comedy.” See Green, pp. 108-112.]

Higher and Higher.Music by Richard C. Rodgers. Lyrics by Lorenz Hart. Book by Gladys Hurlbut and Joshua Logan, based on an idea by Irvin Pincus. Directed by Joshua Logan. Choreography by Robert Alton. Shubert Theatre, NYC, 4 April to 15 June 1940. 108 performances. Cast:Eva Condon (Hilda O’Brien), Robert Chisholm (Byng), Billie Worth (Dottie), Hilda Spong (Miss Whiffen), Shirley Ross (Sandy Moore), Jack Haley (Zachary Ash), Lee Dixon (Mike O’Brien), Marta Eggert (Minnie Sorenson), Marie Louise Quevli (Scullery Maid), Gloria Hope, Hollace Shaw, Jane Richardson (Three Nursemaids), Robert Rounseville (Soda Jerker), Marie Nash (Ladies’ Maid), Robert Shanley, Joe Scandur, Richard Moore (Cops), Carl Trees (Footman), Leif Erickson (Patrick O’Toole), Janet Fox (Ellen), Robert Rounseville and Joe Scandur (Truckmen), Fin Olsen (Snorri), Sharkey the seal (Himself), Frederic Nay (Handyman), Ted Adair (The Cat), Lyda Sue (The Frog), Sigrid Dagnie (The Bat), Frederic Nay (The Coachman), Joseph Granville (The Gorilla), Jane Ball (Purity), Singing Girls, Singing Boys, Specialty Girls, and Specialty Boys.

Musical Numbers:“A Barking Baby Never Bites,” “From Another World,” “Morning’s at Seven,” “Nothing but You,” “Disgustingly Rich,” “Blue Monday,” “Ev’ry Sunday Afternoon,” “Lovely Day for a Murder,” “How’s Your Health?” “It Never Entered My Mind,” “I’m Afraid,” “It’s Pretty in the City.”

[The servants of a suddenly bankrupt millionaire, through the scheme of Zachary Ash, try to make their fortunes by passing off Minnie Sorenson, one of the maids, as a debutante, hoping that she will catch and marry an affluent playboy. All goes well until a trained seal from Minnie’s native country of Iceland foils the plot by biting Zachary in the pants at a party. But all works out well for Minnie and the wealthy Byng, nonetheless. See Green, pp. 211-215. Made into a movie in 1943 with Frank Sinatra, Mel Torme, Jack Haley, Barbara Hale, and Victor Borge.]

[See also Rodgers and Hart movies:Present Arms,The Hot Heiress,Love Me Tonight,Higher and Higher.]

Richard Rodgers and Oscar Hammerstein II:
Cinderella. Premiered CBS-TV Network 8:00-9:30 p.m., 31 March 1957. Directed by Ralph Nelson. Produced by Richard Lewine. Dances by Jonathan Lucas. Settings and costumes by William and Jean Eckart. Conductor: Alfredo Antonini. Cast: 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), The Prince (Jon Cypher), Town Crier (Robert Penn). Musical Numbers: “The Prince is Giving a Ball,” “The Entrance of the Prince,” “A Very Special Day” (fromMe and Juliet), “Ladies in Waiting” (written by Don Driver), “Cinderella March,” “In My Own Little Corner,” “Keep It Gay” (fromMe and Juliet), “When You’re Driving Through the Moonlight,” “A Lovely Night,” “Boys and Girls Like You and Me” (dropped fromOklahoma), “Impossible,” “The Transformation Ballet,” “It’s Possible,” “A List of Bare Necessities,” “The Grand March,” “Gavotte,” “The Grand Ballet” (“Cinderella Waltz”), “Ten Minutes Ago,” “Stepsisters’ Lament,” “Do I Love You Because You’re Beautiful,” Finale.

[Rodgers and Hammerstein wrote this musical for the CBS-TV Network. The unique, single performance was watched by an estimated 107,000,000 on a broadcast carried by 245 stations around the country. This production was quite lively, with Julie Andrews presenting a somewhat wittier Cinderella than the subsequent remake, a girl who takes genuine delight in imagining the stepsisters’ “sour-apple green” jealousy over her own loveliness at the ball. No film version was made of this production (video-tape had not yet been invented), though an audio tape was recorded and marketed. It is noteworthy that Julie Andrews at the age of 18 had performed Cinderella in a 1953 Palladium pantomime opposite comedians Max Bygraves and Richard “Mr. Pastry” Hearne. It was her success in that role that brought her to the attention of the producers ofThe Boy Friend, her first New York show. See Movies, for a later production of the Rodgers and Hammerstein Cinderella with a different cast, a production which was filmed and videotaped. And see Pantomime Productions, 1959 ff., for British Panto adaptations. Piano-Vocal Score of the musical was published New York: Williamson Music, 1962.]

Revivals of the Rodgers and Hammerstein Cinderella: Musicarnival, Cleveland, 5 to 8 June 1961.

Cast: Monte Amundsen (Cinderella), Tommy Rall (Prince), Hal LeRoy (Portia).

Swope Park Auditorium, Kansas City, Mo. 10 to 16 July 1961.

Cast:Carla Alberghetti (Cinderella), Tommy Rall (Prince), Hal LeRoy (Portia), Murray Matheson (The King), Mimi Randolph (The Queen).

St. Louis Municipal Theatre. August 14-20, 1961. Adapted by Don Driver.
Directed by John Kennedy. Settings by Paul C. McGuire. Costumes by Andrew Geoly. Choreography by Frank Westbrook. Modern dances and ensembles staged by Dan M. Eckley. Musical director: Edwin McArthur. Orchestrations by Robert Russell Bennett.

Cast: Marie Santell (Cinderella), Harry Snow (The Prince), Hal LeRoy (Portia), Jack Gilford (The King), Mary M. Cook (The Queen), Will B. Able (Joy), F. J. O’Neil (Lord Chamberlain), Edmund Lyndeck (The Herald), Lila Gage (The Plume Lady), Pablo Flores (The Chef), Walter Richardson (The Steward), Lupe Serrano (Premier Ballerina).

St. Louis Municipal Theatre, 19 to 25 July 1965. Same as the 1961 production but with some cast changes: Judith McCauley (Cinderella), William Lewis (The Prince), Hal LeRoy (Portia), Jack Harrold (The King), Mary M. Cook (The Queen), and Will B. Able (Joy).

Terrace Theatre, Long Beach, CA. 3 August to 20 August 1989. Produced by the Long Beach Civic Light Opera. Producers, Martin Viviott and Keith Stava. Adapted for the stage by Don Driver. Directed by Fran Soeder. Set design by Eduardo Sicangco. Lighting by Jeff Calderon. Costumes by Delmar L. Rinehart, Jr. Choreography by Gene Castle. Musical Director: Steve Smith. Orchestrations by Robert Russell Bennett. Special effects by Adam Bezark.

Cast: Julie Lambert (Cinderella), Greg Louganis (The Prince), Pat Carroll (Fairy Godmother), Alan Young (The King), Marilyn Child (The Queen), Elmarie Wendel (Stepmother), Pamela Myers (Portia), Kathryn Skatula (Joy), Raymond Saar (Herald/Steward), Bill Bateman (Chef).

Pantages Theatre, Los Angeles. 12 December to 30 December 1990.

Produced by the Los Angeles Civic Light Opera. Producers, Martin Viviott and Keith Stava. Adapted for the stage by Don Driver. Director, Charles Repole. Set design by Eduardo Sicangco. Costumes by Garland Riddle. Choreography by Timothy Smith. Musical Director, Carol Weiss. Orchestrations by Robert Russell Bennett. Special effects by Adam Bezark.

Cast: Bobbie Eakes (Cinderella, Jeff Trachta (The Prince), Rose Marie (Fairy Godmother), Steve Allen (The King), Jayne Meadows (The Queen), Carol Swarbrick (Stepmother), Pamela Hamill (Portia), Sandy Rosenberg (Joy).

New York City Opera, Lincoln Center, 9 to 21 November 1993, in a version adapted earlier for the stage Steve Allen (1965) and further adjusted by the production’s director Robert Johanson.

Cast: Sally Ann Howes (Fairy Godmother), Ron Baker (Royal Herald), Abigail Mentzer (Little Girl), Nancy Marchand (Stepmother), Alix Korey and Jeanette Palmer (Cinderella’s Stepsisters, Joy and Portia), Crista Moore (Cinderella), Andrew Pacho (Dog), Debbi Fuhrman (Cat), Maria Karnilova (Queen), George S. Irving (King), Jonathan Green (Royal Chef), John Lankston (Royal Steward), George Dvorsky (Prince), Stephanie Godino (Youngest Fairy), Shawn Stevens (Tiara Fairy).

[This production added three songs not in the 1957 telecast: “My Best Love,” a father’s counsel to his son that was cut from Flower Drum Song, now performed by the King and Prince; “If I Weren’t King,” originally written for the telecast but cut prior to performance; and “Loneliness of Evening,” originally written for Lt. Cable in South Pacific, but cut from that show, a song now sung by the Prince.]

See also Cinderella on Ice (1990), below.

Cinderella. Libretto. Revised Version. New York: Rodgers and Hammerstein Library, 1978.

Richardson, Claude Davis. The Maid and the Golden Slipper (Cinder-ella): An Operetta for Treble voices in Two Acts. Cincinnati: Willis Music Co., 1922. Words, lyrics, and music by Claude Davis Richardson.

Cast: Godmother, Step-mother, Cupid (to be played by as small a person as can learn the part), Prince, Cinderella, Footman, Belinda and Henrietta (Step-sisters–one fat, one thin), Lords and Ladies, fifteen or twenty Fairies, capable of dancing.

Settings: Act I, Sc. 1: Woodland (stage full of fairies with Godmother in center). Sc. 2: Kitchen in Cinderella’s Home (Cinderella in patches with yellow dress underneath). Act II, Sc. 1:Ball-room at Palace (Lords and Ladies assembled, awaiting the Prince, etc.). Sc. 2: Parlor at Home of Cinderella (No singing here, until the reprise of “Love Me,” after Cinderella is identified by the slipper and is transformed into her yellow dress.

Musical numbers: Act I: Overture (Instrumental), Opening chorus (Fairies), You must be good (God-mother), I’m the Little God of Love (Cupid), Dear Little Maid in Yellow (Cupid), We Scatter Light (Fairies), duet (Belinda and Henrietta), I am So Sad (Cinderella). Act II: Hair to the Prince (Chorus), Friendship (Prince), Who’s the Maiden (Chorus), Love Me (Prince and Cinderella), Minute (Instrumental), Finale, sc. 1 (Chorus), Finale, Sc. 2 (Chorus), Repeat “Love Me.”

[The fairies sing of joy in service. Godmother tells them of Cinderella’s sad lot with the step-mother and jealous step-sisters. One suggests that the poison the step family but the Godmother says kindness is best and all agree to help. The Godmother tells them of the ball and how, with their help and Cupid’s. Cinderella will attend. Cinderella prepares her step-sisters, then is left alone in the kitchen. Godmother appears and changes Cinderella’s rags to a beautiful gown of yellow with golden slippers, then warns her of the midnight deadline. At the ball the Prince, under the spell of Cupid, falls in love with Cinderella who escapes as the clock strikes. She loses one slipper. After a long search the Prince finds the owner of the slipper. When he finds Cinderella the two step-sisters do “some tragic acting,” which is made to be ridiculous; then all ends happily.]

Cinders: A Musical Comedy. Dresden Theatre, New York. Opened 3 April 1923. Produced and directed by Edward Royce. Book and Lyrics by Edward Clark. Music by Rudolf Friml. Scenery by P. Dodd Ackerman. Gowns by Paul Poiret. Fashion Parade Gowns by Evelyn McHorter. Musical Director: Victor Baravelli. Stage Managers: Frank Rainger and Denny Murray.

Cast: Nancy Welford (Cinders), Queenie Smith (Tillie Olsen), W. Douglas Stevenson (John Winthrop), Margaret Dale (Mrs. Horatio Winthrop), Fred Hillebrand (Slim Kelly), John H. Brewer (Major Drummond), Roberta Beatty (Mrs. Delancey Hoyt), George Bancroft (Great Scott), Mary Lucas (Geraldine Hoyt), Thomas Fitzpatrick (Winthrop’s Butler), Lillian Lee (Miss Breckenridge), Edith Fitzpatrick (Winthrop’s Butler), Edith Campbell Walker (Mme. Duval), Kitty Kelly (Tottie), Estelle Levelle (Lottie), Alta King (Hortense), Diana Stegman (Annabelle), Dagmar Oakland (Mathilde), Evelyn Darville (Julie), Elaine Gholson (Yvette), Eden Grey (Ninette), Vera Da Wolfe (Cecelia), Louise Bateman (Simone), Jack Whiting (Bruce), Nathaniel Gennes (Nat), Frank Curran (Frank), Harry Howell (Harry), Denny Murray (Denny), Abner Barnhart (Cliff), Dewitt Oakley (Dewitt), Thomas Green (Thomas), Eugene Jenkins (Gene). Gertrude McDonald, Elva Pomfret, Mildred Lunnay, Sydney Reynolds (Dancers). Ralph Riggs and Katharine Witchie (Speciality Dancers).

Musical Numbers: “One Good Time,” “Get Together,” “You Got What Gets ‘Em,” “I’m Simply Mad About the Boys,” “You and I,” “The Argentine Arango,” “Finaletto,” “Hawaiian Shores,” “You Remind Me of Someone,” “Fashion Parade,” “Cinders,” “The Belles of the Bronx,” “Rags Is Royal Rainments.”

Loder, Marion.Cinderella in Flowerland. An Operetta for Children. Philadelphia: Oliver Ditson Co., 1924.

Characters: Cinderella (Daisy), Proud Sisters (Hollyhock and Tiger Lily), Godmother (Nature), Bonnie Bee (Little Page), Butterflies (Charioteers), Robin Red (Prince’s Herald), Prince Sunshine (of Sunbeam Castle), Guests at the Ball (Poppy, Buttercup, Pansy, Daffodil, Violet, Sweet Brier, Mignonette, Lily Bell, Sweet Pea, Narcissus), Six Little Sunbeams and Six Little Raindrops (between three and five years of age).

[Synopsis: Scene 1: Prince Sunshine’s invitation to the May-day ball.Prologue spoken in front of curtain, followed by music for the prologue and chorus: 1 (Song by Robin Red and the Flowers); 2 “What Shall We Wear,” sung by the flowers; 3 “Song of the Styles,” sung by Sweet Brier, followed by dialogue as Tiger Lily and Hollyhock snatch the invitation for fine dressing from Sweet Brier and other flowers, leaving Daisy to console the others, a princess in an old faded gown. 4 “Just Think of the Bonnets,” sung by all, nodding.Scene 2: Godmother Nature sends Daisy off to the ball.5 Daisy sings of the beauty of the other flowers and wishes she could go to the ball. Hollyhock snappishly tells her to straighten her bonnet for her. Tiger Lily mocks Hollyhock and both threaten Daisy, then leave. Daisy sings the last part of the “Daisy Song” and is visited by Godmother Nature who, with the help of Bonnie Bee and the Butterflies, prepares her for the ball. 6 “Away and Away, through the soft sunny air.”Scene 3: The May-day ball, and the shower.8 “Sing a Song of Sunbeams,” sung by all, then the Prince, then all. The Prince and Robin greet the guests, including the pushy Tiger Lily and Hollyhock. The dance proceeds with 9 “Dancing Song” (in polka time). Song of Butterflies is heard without. Daisy enters, giving her name as Marguerite. 10 “Song of amazement: Where did she come from, this wondrous stranger?” She dances with the Prince. 11 “Dance Song” (an allegretto, sung while all dance). After the dance the Blossoms talk in pantomime about the stranger while Daisy sings 12 “Am I Dreaming?” Tiger Lily and Hollyhock turn up their noses during a minuet. 13 “Song of the Butterflies.” Daisy would linger. 14 “Sunbeam Song.” Then it starts to rain and Daisy remembers that she has stayed too long “My four o’clock is shut!” and flees. The Prince picks up her slipper, the raindrops enter to a chorus of “Marching through Georgia,” then sing 15 “Raindrops’ Song.”Scene 4: The Princess of Sunbeam Castle.Daisy comes in out of breath, followed by Tiger Lily and Hollyhock, who scold her. The Prince arrives. The slipper doesn’t fit the mean sisters. The godmother appears and pushes Daisy gently forward. She asks to try the slipper on, protesting that she has lost one. The Prince wonders what a forlorn and ragged lass she is, but when the slipper fits and she is transformed, cries out: “My rapturous joy is now complete, Long live the Princess Marguerite!” 16 “Chorus of Blossoms,” during which Tiger Lily and Hollyhock walk away disgusted. 17 “Song of Daisy and Prince,” followed by a coronation and sunbeam songs.]

Cinderella. Metropolitan Opera House, Philadelphia. Opened 22 February 1927. Produced by the Peerless Juvenile Extravaganza Company. A Musical Version of the Fairy Tale. Dances and Play directed and staged by Ethel QuirkPhilips, Edward Quirk-Philips, Karlene Franz and Leslie Kelley, under the direction of Ethel Quirk-Philips and Al White. Costumes by Mrs. M. S. Barry-Louise Muir.

Cast: Artemis Faque (Cinderella), Leslie Kelley (The Prince), Myrtle QuirkPhilips (Dandini), Phyllis Battles (Alidoro), Ethel QuirkPhilips (Fairy Godmother), Audrey Shestack (Clorinda), Katherine Dougherty (Thisbe), Dennis Welch (Baron Pompolino), Thomas Cannan (Pedro), Anna Hagen (Page).

Mr Cinders. Music by Vivian Ellis and Richard Myers. Book and Lyrics by Clifford Grey and
Greatrex Newman. Additional Lyrics by Leo Robin. Vocal and Orchestral arrangements by Michael Reed. London: Chappell Music Ltd., 1927; Harms Inc., 1984.

Musical Numbers: Act I: 1. Tennis; 2. “True to Two”; 3. “I Want the World to Know”; 4. “One-man Girl”; 4b. Reprise: “True to Two”; 4c. Reprise: “One-man Girl”; 5. “On with the Dance”; 5c “Le Cygne”; 6. “At the Ball”; 7. “Spread a Little Happiness”; 7a Reprise: “Spread a Little Happiness.” Act II: 7b Entracte; 8. Eighteenth Century Drag; 9. “She’s My Lovely”; 10. “Please Mr Cinders”; 11. “On the Amazon”; 12. “Every Little Moment”; 13. “I’ve Got You”; 14. “Honeymoon for Four”; 14a. Reprise: “One-man Girl”; 15. Finale; 15a. Bows.

[Orphan Jim lives with his relatives, the Lumleys at Merton Chase. He rescues Mr. Kemp, an American oil millionaire from Chicago from drowning, but Gus Lumley gets credit for the heroic act on grounds that Jim is a charity case much in debt to the Lumleys, who treat him like dirt. Kemp’s heiress daughter goes into hiding as a servant girl, fearing that everyone will be after her for her money. She knows that Jim was the hero, not Gus Lumley. Gus falls for Kemp’s servant girl, who is acting in Jill’s place, and Jill and Jim become great friends. At a Ball Jim goes in disguise as the Earl of Ditchim, survives shenanigans with a widow from Paraguay and a stolen necklace, and, finally, gets to marry Jill when things are all sorted out.]

This male Cinderella musical/pantomime has often been revived:

Mr Cinders: A Musical Comedy in Two Acts. Opera House, Blackpool. 25 September 1928.

Mr Cinders: A Musical Comedy in Two Acts. Adelphi Theatre, London. Opened 11 February 1929; moved to the Hippodrome Theatre, 16 July 1929. 528 performances. Produced by Moss Enterprises Ltd. and J. C. Williams Ltd. A Julian Wylie Production. Directed by George D. Parker. Music by Vivian Ellis and Richard Myers. Book and Lyrics by Clifford Grey and Greatrex Newman, with additional lyrics by Leo Robin. Choreography by Max Rivers. Costumes by Revielle and Mme. Blanche. Stage Manager: H. E. Bright.

Cast: Jack Melford (Lumley), Sebastian Smith (Sir George Lancaster), Ruth Maitland (Lady Lancaster), Basil Howes (Guy), Bobby Howes (Jim), Lorna Hubbard (Phyllis Patterson), Charles Cautley (Henry Kemp), Phil Lester (Butler at Merton Chase), Binnie Hale, succeeded by Rene Mallory (Jill Kemp), Reita Mugent (Minerva Kemp), Rene Mallory succeeded by Vera Wilson (Lucy Smith), Paddy Dupres (P.C.Merks), Edith Savile (Donna Lucia d’Esmeralda), Thorp Devereux (Smith, Butler at the Towers), Phil Lester (Hodgins).

Synopsis of Scenes: Act I: Sc. 1 (The Garden at Merton Chase), Sc. 2 (A Corner of the Garden), Sc. 3 (The Hall at Merton Chase). Act II: Sc. i (The Ballroom at the Towers), Sc. 2 (The Grounds at the Towers), Sc. 3 (Willow Vale Railway Station), Sc. 4 (The Terrace at Merton Chase).

Musical Numbers: Act I: Opening Chorus, “Blue Blood,” “True to Two,” “I Want the World to Know,” “One-Man Girl,” Finaletto, Reprise “I Want the World to Know,” “On With the Dance,” “Spread a Little Happiness,” “Le Cygne,” “At the Ball,” FINALE. Act II: “Seventeenth Century Drag,” “Jill,” “On the Amazon,” Reprise “I Want the World to Know,” “Every Little Moment,” “I’ve Got You, You’ve Got Me,” “Honeymoon for Four,” FINALE. Program includes photos of principals and five scenes.

Mr Cinders. Kings Head, London. January 1983. Moved to Fortune Theatre, London. Opened 27 April 1983. Produced by Charles Ross and Dan Crawford, by arrangement with Joel Spector. Book and lyrics by Clifford Grey and Geatrex Newman (see Pantomime Productions, 1927). Directed by Tony Craven. Music by Vivian Ellis and Richard Myers. Additional lyrics by Leo Robin. Sttings by Norman Coates. Lighting by Mark Henderson. Costumes by Peter Rice. Choreography by Kenn Oldfield. Musical Director: Michael Reed. Stage managers Iain McAvoy, Michael Lightfoot, and Isabel Arnett.

Cast: Denis Lawson (Jim Lancaster), Christian Matthews (Jill Kemp), Donald Douglas (Henry Kemp), Steven Percy (Guy Lancaster), Graham Hoadley (Lumley Lancaster), Derek Smee (Sir George Lancaster), Angela Vale (Lady Lancaster), Helen Blizard (Penelope Parks/Lucy Jones), Tony Stansfield (Bunny Hayes), Stephanie Lunn (Becky Bartlett), Diana Martin (Minerva Kemp), John Atterbury (Smith the Butler), Julie Anne Blythen (Enid Brinkly), Janthea Williams (Cynthia Boyce), Mark Hutchinson (Charles Wylde), Geoff Steer (Billy Whymper), Andrea Kealy (Phyllis Patterson), Andrew Livingston (Policeman), Jeanna L’Esty, succeeded by Joanna Douglas (Donna Lucia d’Esmeralda), Andrew Livingston (P. C. Marks).

Mr. Cinders. Forum Theatre, Metuchen, N.J. Opened 30 April 1986. Produced by the Forum Theatre Group in association with Dan Crawford and Kings Head Productions. A Musical Comedy, directed by Peter Loewy. Book and lyrics by Clifford Grey and Greatrex Newman. Music by Vivian Ellis and Richard Myers. Additional lyrics by Leo Robin. Settings by Diane Mandel and Lisa Meyers. Lighting by Edward R. F. Matthews. Costumes by Debbie Stasik. Choreography by June Tartaglia. Musical Director: Richard Christman. Stage Manager: Michael Price.

Cast: Michael Lengel (Jim Lancaster), Lynne Wilson (Jill Kemp), Andrew Scopellite (Henry Kemp), Robert Jensen (Guy Lancaster), Jonathan Smedley (Linden Lancaster), Donald J. Baumgardner (Sir George Lancaster), Sue Winik (Lady Lancaster), Joanne King (Penelope Crawford), Mary Lynn Susek (Becky Bartlett), Rose Pedone (Minerva Kemp), Dan Chiel (Smith the Butler), Sally Weller (Enid Brinkly), Kim White (Cynthia Boyce), Paul Panella (Charles Wylde), Rob Reynolds (Billy Whymper), Margaret Bakes (Phyllis Patterson), John DeMeglio (Benny), Carl Fitzgerald (P. C. Marks).

Mr. Cinders.Goodspeed Opera House, East Haddam, Conn. 22 October to 18 December 1988. Produced by the Goodspeed Opera House. Executive Director: Michael P. Price. A Musical Comedy, directed by Martin Connor. Book and Lyrics by Clifford Grey and Greatrex Newman. Music by Vivian Ellis and Richard Myers. Additional Lyrics by Leo Robin. Settings by James Leonard Joy. Lighting by Curt Osterman. Costumes by David Toser. Choreography by Dan Siretta. Musical Director: Lynn Crigler. Orchestrations by Russell Wamer and Lynn Crigler. Stage Manager: Michael Brunner.

Cast: Charles Repole (Jim Lancaster), Beth Austin (Jill Kemp), Tom Batten (Henry Kemp), Bill Ullman (Guy Beardsley-Lancaster), Drew Taylor (Lumley Beardsley-Lancaster), Iggie Wolfington (Sir George Lancaster), Patricia Kilgarriff (Lady Lancaster), Angela Nicholas (Penelope Spencer), Reness Laverdiere (Becky bartlett), Pamela Clifford (Minerva Kemp), Ian Thomson (Smith the Butler), Holly Evers (Enid Brinkly), Mikki Whittles (Cynthia Boyce), David Monzione (Charles Wylde), Ken Skrzesz (Freddie Whymper), Katy Cavanaugh (Phyllis Patterson), Tim Foster (Henry Fortesque), Gary Kirsch (Bunny Hayes), Teresa Parent (Lucy Larkin), Farnham Scott (P. C. Marks).

Mr Cinders. Music by Vivian Ellis and Richard Myers. Book and lyrics by Clifford Grey, Greatrex Norman, and Leo Rubin. Directed by Martin Connor. 1992.

[Jim Lancaster (Samuel West), oppressed servant to the Lancaster household, endures by his wits the whims of ghastly cousins Guy and Lumley and the tyrannical Lady Lancaster. He sticks with the job out of obligation to his uncle (now deceased) who took him in when he was orphaned. He rescues wealthy Henry Kemp from drowning in a lake, but Kemp thinks Guy was the rescuer and would offer a posh executive position in his oil company to the wrong man. But the new maid Sarah (Sally Ann Triplett), really the wealthy Jill Kemp, the disguised heiress to her Dad’s oil fortune, rescues Jim, whom she loves, and all works out swell, including the truth.]

Mr Cinders.Shaw Festival. Royal George Theatre. Niagara-on-the-Lake, Ontario. 12 April to 26 October 1996. 126 performances. Directed Christopher Newton. Music by Vivian Ellis and Richard Myers. Libretto and lyrics by Clifford Grey and Greatrex Newman, with additional lyrics by Leo Robin and Vivian Ellis (1929). Choreography by William Orlowski. Orchestration and Musical Direction by Christopher Donison. Design by William Schmuck. Lighting by Ereca Hassell.

Cast: Jane Johanson (Cynthia Boyce/Maid), Terry Harford (Billy Whymper/Mr Henry Kemp), Jenny L. Wright (Becky Bartlett/Maid), William Orlowski (Charles Wylde/Smith), Karen Skidmore (Enid Brinkley/Lucy/Donna Lucia), Todd Waite (Guy Beardsley Lancaster), Sherri McFarlane (Phyllis Patterson), Graham Rowat (Bunny Hayes/P. C. Merks), Neil Barclay (Lumley Beardsley Lancaster), William Vickers (Sir George Lancaster), Nora McLellan (Lady Lancaster), Richard Binsley (Jim Lancaster), Karen Wood (Kill Kemp), Gail Hakala (Minerva Kemp).
[The costumes for this production were superb; the choreography quite good. This production creates “a wonderful sense of the frothy ‘30s when the Duchess of Windsor could come popping round the corner of the tennis courts”–Christopher Newton.]

Davis, Katherine K. Cinderella: A Folk-tune Operetta in three Acts without spoken dialogue. Boston: E. C. Schirmer Music Co., 1933.

Cast: Cinderella, The Two Wicked Sisters, The Fairy Godmother, Her Fairy Attendants (four or more), The Prince, Lords and Ladies at the Ball, A Herald (or two), Two Pages. Also, for more elaborate productions, Four Mice, Musicians (two or three).

[Act I. No. 1 “All alone, all alone” (French melody): Introduction and solo by Cinderella. No. 2 “Cinderella, Cinderella” (Russian): duet by the two sisters as they learn of the ball and demand that she prepare them. No. 3 “All alone, all alone” (French melody), as Cinderella mourns after the sisters have left for the ball. The fairy godmother and fairies surround her as she finishes the song. No. 4 “Cinderella, Cinderella” (Czech song): The fairy godmother and fairies tell her to dry her eyes while the transformations take place. No. 5 “Now you are fair, Cinderella” (English waltz): Chorus of fairy godmother and attendants.

[Act II. No. 6 “Here in this royal hall” (Old French Pavane): Ladies and cavaliers at the ball. At the end Cinderella enters. No. 7 “Now I rise to greet you” (Russian): solos and duet by the Prince and Cinderella. No. 8 “Sister, Sister” (Russian): the two sisters. As they sing the prince dances with Cinderella. No. 9 Pavane: Dance (William Byrd): At the end the music is interrupted by the striking of midnight; Cinderella flees, losing the slipper. No. 10 “Ah, and alas” (Bohemian song): The prince and chorus of lords and ladies lament her disappearance.

[Act III. Back at the house of Cinderella. No. 11 “Here comes our gallant Prince” (English): Introduction and duet by the sisters on who the prince looked at most. No. 12 “Where is the fairest maid of all?” (French): The prince and the two sisters. After both verses are sung the music is played a third time as the sisters try on the slipper. No. 13 “Shame! Shame! Oh, for shame!” (Hungarian): The prince and courtiers scorn the two sisters. Cinderella is brought in during the final four measures and tries on the slipper, which fits. No. 14 Pantomime (French music), as the prince kneals before Cinderella, kisses her hand, and leads her forth. No. 15 “Ah, you are fair, Cinderella (English): The prince, two sisters, noblemen, fairy godmother and fairy attendants celebrate Cinderella.

[According to the blurb for the operetta, “The music for this play consists of folk-tunes handed down to from the same industrious, jovial and sentimental peasantry which produced the Cinderella legend.” Including tunes such as “Lavander blue” and French pavanes and horn dances, the operetta has a great deal of charm and beauty.]

Cinderella: A Cantata or Operetta for Schools,with Words by A. J. Foxwell. Music arranged with especial regard to simplicity by B. Mansell Ramsey. London: J. Curwen & Sons, 1937; New York: G. Schirmer, 1937.

Cast: Cinderella (Soprano); Baron, her father (Baritone); Baroness, her stepmother (not assigned a vocal range); Dolabella and Marinella, the stepsisters (Contralto and Mezzo-Soprano); Prince (Contralto); Herald (Mezzo-Soprano); Fairy (Soprano). Guards, Pages, Courtiers, Citizens.

[Synopsis: Part I: 1. Chorus: “Come, friends, come along” (announcement of the ball); 2. Chorus: “Long Live the Prince”; 3. Solo and Chorus: “Hurrah for the chase”; 4. Air (Cinderella): “The Light of Day”; 5. Air (Baron): “Why, grieving is folly”; 6. Duet (Cinderella and Baron): “I gaze upon the happy past”; 7. Air (Baron): “We buy and sell”; 8. Air (Baron): “I will be master”; 9. Trio (the stepsisters and Cinderella): “So, miss, I declare”; 10. Fairy chorus: “Cinderella, do not fear”; 11. Duet (Cinderella and Fairy): “When darkness veils”; 12. Chorus: “Cinderella’s carriage waits.”

[Part II: 13. Air (Cinderella): “The brightest things, alas!”; 14. Air (Baron): “’Tis a tiresome thing to wait”; 15. Duet (Dolabella and Marinella): “I’m sure she would have been pale”; 16. Chorus: “Good-night”

[Part III: 17. Chorus: “Long live the Prince”; 18. Chorus: “No! the slipper will not do”; 19. Air (Prince): “O what is outward show”; 20. Finale: “O take her, Prince.”

[The text includes three scenery drawings (a market place, a kitchen, and the Baron’s drawing room, and a photograph of the cast in costume for “a recent performance” by the Holy Trinity Children’s Guild, Canning Town.]

If the Shoe Fits. Century Theatre, New York. Opened 5 December 1946. 20 performances. Produced by Leonard Sillman. Book by June Carroll and Robert Duke, based on the Cinderella fairy tale. Director, Eugene Bryden. Music by David Raksin. Lyrics by June Carroll. Settings by Edward Gilbert. Costumes by Kathyrn Kuhn. Choreography by Charles Weidman. Tap routines by Don Liberto. Musical Director: Will Irwin. Orchestrations by Russell Bennett. Vocal Director: Joe Moon. Stage Manager: T. C. Jones.

Cast: Leila Ernst (Cinderella), Edward Dew (Prince Charming), Florence Desmond (Lady Eve), Jody Gilbert (Mistress Spratt), Marilyn Day (Delilah), Sherle North (Thais), Joe Besser (Herman), Edward Lambert (King Kindly), Jack Williams (Broderick), Jean Olds (Dame Crinkle), Joyce White (Dame Crumple), Chloe Owen (Dame Crackle), Ray Cook (The Baker), Adrienne (Widow Willow), Frank Milton (His Magnificence, the Wizard), Richard Wentworth (The Butcher Boy), Gail Adams (Lorelei), Eileen Ayers (Lilith), Youka Troubetzkoy (Major Domo), Eleanor Jonesa (Lady Guinevere), Dorothy Karroll (Lady Persevere), Barbara Perry (Kate), Vincent Carbone (Court Dancer), Robert Penn (Town Crier), Don Mayo, Walter Kattwinkel (Undertakers), Harvy Braun, Stanley Simmonds (Lawyers), William Rains, Ray Morrissey, Richard Wentworth (Three Troubadours), Fin Olsen (Their Arranger), Richard D’Arcy (Sailor), Billy Vaux (Dancing Attendant), Eugene Martin (Singing Attendant), Jane Vinson, Paula Dee (Acrobatic Attendants), Vincent Carbone, Harry Rogers, Allen Knowles, Fred Bernaski (Four Sprites), Marcia Maier, Marybly Harwood (Sailor’s Sweethearts).

Musical Numbers: “Start the Ball Rollin’,” “I Wish,” “In the Morning,” “Come and Bring Your Instruments,” “Night After Night,” “Every Eve,” “With a Wave of My Wand,” “Am I a Man or a Mouse?” “I’m Not Myself Tonight,” “Three Questions,” “If The Shoe Fits,” “That’s The Younger Generation Coming To?” “Have You Seen the countess Cindy?” “This is the End of the Story,” “I Took Another Look,” “I Want to Go Back to the Bottom of the Garden,” “My Business Man.”

Lerner, Alan Jay, and Frederick Loewe. My Fair Lady. Opened in New York, 15 March 1956, at the Mark Hellinger Theatre. Directed by Moss Hart. Costumes by Celia Beaton. Choreography by Hanya Holm.

Cast: Julie Andrews (Eliza), Rex Harrison (Henry Higgins), Robert Coote (Colonel Pickering), Stanley Holloway (Alfred P. Doolittle), Philippa Beavans (Mrs. Pearce), Cathleen Nesbitt (Mrs. Higgins).

[Printed (without music) asMy Fair Lady: A Musical Play in Two Acts. Based on Pygmalion by Bernard Shaw. Adaptation and Lyrics by Alan Jay Lerner; music by Frederick Loewe. A Signet Book. New York: The New American Library, 1956. In his prefatory note Lerner observes: “I have omitted the sequel [that Shaw attached to the published version of Pygmalion] because in it Shaw explains how Eliza ends not with Higgins but with Freddy and–Shaw and Heaven forgive me!–I am not certain he is right.” See also the entry under Movies.]

Cindy-Ella; or, I Gotta Shoe. Written by Caryl Brahms and Ned Sherrin. Directed by Colin Graham. Designed by Tony Walton. Lighting by Richard Pilbrow. Orchestra Conducted by Peter Knight. Additional Music by Peter Knight and Ron Grainer. For BBC Christmas broadcast 1957.

Cast (for BBC broadcast): Cleo Laine (Cindy Ella/Mammy/Mr. Abednigo/Pigmee/Lord Chamberlain); Elisabeth Welch (Mr. Smith/Esmee/Lovable/Fairy Godmammy/Major Domo); Cy Grant (Prince Charming Jones/Peanuts/Mr. Meshak/Herald); George Browne (Mr. Shadrak/Pappy/Uncle/Uncle Lazy-do-nothing/Coachman/Regent/Chucker-out).

Musical Numbers: “I Gotta Shoe” (Company); “Troubles of the World” (Mammy and Company); “Motherless Child” (Ella); “Shine Shine Shoe” (Peanuts and Ella); “Li’l Ella Play on Yo’ Harp” (Fairy Godmother); “Round Like a Melon, Sweet Like a Peach” (Pappy); “You Ain’t-a Gonna Sit and Take Yo’ Ease” (Esmee and Lovable); “Go ‘Way F’om Mah Window” (Ella and Prince); “Man No Good for Nothin’” (Company); “Nobody Knows the Trouble I’ve Seen” (Ella and Company); “You’re Worried Now” (Ella and Peanuts); “You Gotta Look Disdainful” (Stepfamily); “Stranger” (Prince); “Git Along Home, Cindy, Cindy” (Company); “High Summer Day” (Prince); “Look on Me With a Loving Eye” (Ella and Peanuts); “There’s a Man Goin’ Roun’ Givin’ Cards” (Company); “Raise a Ruckus” (Stepfamily and Ella); “Plenty Good Room” (Ella and Prince); “Bring a Little Pumpkin, Cindy” (Ella and Fairy Godmother); “Cindy-Ella” (Ella); “Swing Lo, Sweet Chariot” (Company); “Nobody’s Business” (Ella and Fairy Godmother); “On the First Time” (Ella and Prince); “Look on Me With a Loving Eye” (Ella and Uncle); “De Midnight Special” (Company); “Let Me Hold Your Hand” (Prince); “Hush-a-Bye” (Fairy Godmother); “I Gotta Shoe” (Company); “Stranger” (reprise: Ella and Prince), “Hush-a-Bye” (reprise: Company). Then made into a novel, illustrated by Tony Walton and published by W. H. Allen (1958). Then made into a B.B.C.Tonightprogram with Cleo Laine, etc. (1958), then into a stage show that opened at the Garrick Theatre, London, on December 17, 1962; then reopened New Arts Theatre, London, Dec. 23, 1963.

[Set in the Deep South (New Orleans), the musical makes use of African American music ranging from spirituals to calypso to offer a lively version of Cinderella’s sufferings and triumph. “Sometimes I feel like a Motherless Child,” she sings at the death of her mother. “Nobody Knows the Trouble I’ve Seen” accompanies her grief as she sits by the fire. After she meets the mysterious stranger (the Prince in disguise), the company urges her back with “Git Along Home, Cindy, Cindy”; after her ordinary surrounds of the pumpkin, mice, and lizards have been transformed into something magical she goes to the ball with “Swing Low Sweet Chariot.” After dancing with the man of her dreams, she flees the palace at with witching hour to the tune of “De Midnight Special.” Back home she is reassured by Peanuts (the Buttons figure) and the fairy Godmother with “Hush-a-Bye My Little Baby.” When the Prince comes and the shoe fits, the company bursts into “I Gotta Shoe.” DRG Records Incorporated manufactured and distributed an original cast Decion Recording (Decca) of the musical/radio show (ca. 1963) marketed it as “a charming summer pantomime.”]

I Gotta Shoe. Criterion Theatre, London. Opened 15 December 1976. An AD & J. Arlon Production, presented by H. M. Tennent, Ltd. A Musical Entertainment by Caryl Brahms and Ned Sherrin, with additional music by Peter Knight and Ron Grainer. Directed by Ned Sherrin and David Toguri. Design by Berkeley Sutcliffe. Lighting by John Wood.

Cast: Linda Lewis (Cindy Ella/Mammy/Mr Abedingo/Pigmee/Lord Chamberlain), Elisabeth Welch (Mr. Smith/Esmee/Loveable/Fairy Godmammy/Major Domo), Felix Rice (Prince Charming Jones/Peanuts/Mr. Meshak/Herald), Clarke Peters (Mr. Shadrak/Pappy/Uncle Lazy-Do-Nothing), Eric Roberts (Coachman/Regent/Chucker-Out).

Mann, Dorothy, and Elisha Rosanova.Little Cinderella of the Western Range. A Musical Teleplay. Lebanon, Oregon: Teleplay-Musical Productions, 1959.

[Cindy Mackleson, nicknamed “Little Cinderella,” lives with her pa Matt and elder sister May on a lovely ranch on the prairie. While riding her pony Feega on a plain of tumbleweeds she is hit by a freekish storm, after which she finds a bear cub that she names Teddy Bear and brings home to raise. Three weeks later, during a drought, Matt finds the coral gate open and the heifers gone. He accuses Teddy Bear of killing the heifers and sets out with his gun to track the bear down. Cindy leaps on Feega and sets out ahead to find the bear, singing “Treasure Mountain Dream” to cheer herself up. They come to a strange hidden valley and the horse shies in terror. A ghost with a coyote’s head appears, the horse gallops away, but Cindy smells gingerbread and enters the valley singing “Little Brown ‘Lasses Ginger Bread Man.” She meets a cook, finds the cattle and bear who are at a hidden stream. A traveller comes by and explains that the bear led the cattle to water. There is no ghost, only Buddy Wrighte. Cindy returns to tell her father, who can’t believe she had the courage to enter the hidden valley. They return and a ghost in fact reappears, taking a shot at them. He is in reality Notorious Ned the cattle thief. After a shoot out and unmasking of the crook all ends happily to the closing music of “Little Cinderella of the Western Range.” Other songs include “Oh, Dear, Where’s my Teddy Bear Gone.”]

Cindy. A Musical Comedy by Joe Sauter and Mike Sawyer. Gate Theatre, New York. Opened 19 March 1964. 86 performances. Moved to Orpheum Theatre, 24 September 1964, then to Cricket Theatre, 19 January 1965. 318 performances. Produced by Chandler Warren and Philip Temple, by arrangement with Stuart Wiener and Jerry Grace. Director and Choreographer: Marvin Gordon. Music and lyrics by Johnny Brandon. Scenery by Robert T. Williams. Lighting by Martin Aronstein. Costumes by Patricia Quinn Stewart. Musical Conductor: Sammy Benskin. Orchestrations and musical direction by Clark McClellan. Restaged for the Cricket Theatre by Tommy Karaty.

Cast: Jacqueline Mayro, succeeded by Kelly Wood, Isabelle Farrell (Cindy Kreller), Mike Sawyer (David Rosenfeld), Sylvia Mann, succeeded by Nancy Carroll, Milly Weltz (Mama Kreller), Frank Nastasi, succeeded by David Howard (Papa Kreller), Johnny Harmon, succeeded by Tommy Karaty, Jerry Wilkins, Rich Landon (Lucky), Dena Dietrich, succeeded by Mary Betten, Alyce Beardsley (Della Kreller), Amelia Varney (Golda Kreller), Lizabeth Pritchett, succeed by Elizabeth Parrish, Evelyn Bell (Ruth Rosenfeld), Joe Maisell, succeeded by Joe Bellomo (Chuck Rosenfeld), Thelma Oliver, Tommy Karaty, succeeded by Rick Landon; Mark Stone succeeded by Michael Loman; Robert Becker succeeded by Charles Abbate (Storytellers).

Musical Numbers: “Once Upon a Time,” “Let’s Pretend,” “Is There Something to What He Said,” “Papa, Let’s Do It Again,” “A Genuine Feminine Girl,” “Cindy,” “Think Mink,” “Tonight’s the Night,” “Who Am I?” “Ballroom Sequence,” “If You’ve Got It, You’ve Got It,” “The Life That I’ve Planned for Him,” “If It’s Love,” “Got the World in the Palm of My Hand,” “Call Me Lucky,” “Laugh It Up,” “What a Wedding.”

[See Cindy, under Movies, 1964, for a 30 minute TV abridgement of the musical.]

Cindy. Fortune Theatre, London. Opened 30 May 1968. Produced by Haymarket Stage Productions Ltd. A Musical Comedy by Joe Sauter and Mike Sawyer. Directed by Alexander Bridge. Music and Lyrics by Johnny Brandon. Scenery by Kenneth Sharpe. Choreography by Bob Howe.

Cast: Geraldine Morrow (Cindy Kreller), Alan Selwyn (David Rosenfeld), Hy Hazel (Zelda Kreller), Kalman Glass (Irving Kreller), Johnny Tudor (Lucky), Ann Stillman (Della Dreller), Angela Darren (Golda Kreller), Rose Hill (Ruth Rosenfeld), Dudley Stevens (Chuck Rosenfeld), Tina Scott, Hal Davis, Brian Jay Smith (Storytellers).

The Apple Tree: A Musical Comedy.Directed by Mike Nichols. Music by Jerry Bock; Lyrics by Sheldon Harnick. Additional book material by Jerome Coopersmith. Opened New York: Shubert Theatre, 18 October 1966. In Three Parts: Part One:The Diary of Adam and Eve, Saturday, June 1st in Eden (based on “The Diary of Adam and Eve,” by Mark Twain); Part Two:The Lady of the Tiger: A Long Time Ago in a Semi-Barbaric Kingdom(based on a story by Frank Stockton; a full-length musical version was presented on Broadway in 1888, with DeWolf Hopper in the lead); and Part Three:Passionella: The Present in New York City and Hollywood(based on a story by Jules Feiffer). Mike Nichols’ first musical.

Passionella Cast: Ella, Narrator, Prince Charming (Flip, then Mr. George Brown), Mr. Fallible, Producer.

Musical Numbers: “Movie Star” and “Movie Star Reprise,” “Georgeous,” “Who is She?” “I know,” “Wealth,” “(You Are Not),” “Real,” “Movie Star Reprise,” “Passionella Finale.”

[Synopsis:In this third section of the Apple Tree musical, Ella is a chimney sweep who works hard. But she is left unemployed when the boss tells her Automation has come to chimney sweeping: “Sorry, You can keep the brushes.” Ella wanders the streets looking for work without success; watching TV is her only escape. One evening a Fairy Godmother appears out of the screen and turns her into Passionella – beautiful, glamourous, radiant, ravishing. There’s only one hitch: her friendly neighborhood Godmother has power only from Huntley-Brinkley to the Late-Late Show. The rest of the day she’ll be her usual sooty self. The transformed Ella takes the subway to El Morrocco and is much admired in both places. A famous producer turns her into a movie star – the mysterious, exotic, bewitching temptress Passionella. Everyone idolizes her except Flip, who doesn’t want a sex goddess with cinerama body and a celluloid heart. He wants someone real, with dirty finger-nails, straggaly hair, slovenly clothes and an air of despair. So Passionella convinces the producer to let her play a chimney sweep in her next film or she’ll quit. He consents and she stuns the world, wins an Oscar and Flip too. They go home together and watch the Late, Late Show, after which she’s converted back to Ella. Flip, too, is changed to George L. Brown. Ella loves brown; they shyly approach each other, embrace, and live happily ever after as the national anthem is heard and the TV screen shows the flag flying in bright colors.]

Webber, Andrew Lloyd.Joseph and the Amazing Technicolor Dreamcoat.1968;
expanded 1972.

[Tells the story of Joseph, a sort of male Cinderella, from his childhood to his reconciliation with the brothers and Jacob. Leaves out the Asneth romance but begins and concludes with “Any Dream Will Do.” Pharaoh is an Elvis clone who ultimately welcomes Joseph to the ball.]

Leaper, Kenneth.Cinderella: for Mimes, Voices, Speakers, Piano and Instruments.
London: J.B. Cramer & Co, 1982.

[This witty musical play was designed as entertainment for young musicians (academicians) accustomed to performance and adjudication. Much of the music is mime accompaniment, using paper and comb and vocal “instruments” to do the oom pa pas, and rumpatums, as Prince Charming and Jeeves meet Cinderella, a member of the local populace out for its celebration of a holiday. They gaze at each other to musical effects or by playing instruments themselves as the Adjudicator becomes befuddled and loses his place and purpose while the Secretary tries to get him focused. The “Adjudicator Blues” is a witty do-wa piece as he tries to recover from being lost in papers and general confusion. The fairy godmother arrives to a burlesque of the Ballet of the Hours (here called the Ballet of the Unsocial Hours), and gives the Prince hope; he gets the slipper and tries it on hundreds and thousands in a witty patter song, then tries (with good badluck) fitting the shoe to the mother and two ugly sisters, but as the band takes its place the shoe fits Cinderella and the ensemble bursts into a romantic waltz with paper and comb obligato, then modulates into a joyful bounce dance with comic words as we see how happily, happily it all turns out.]

Sondheim, Stephen, music and lyrics.Into the Woods. Book by James Lapine. Originally produced by the Old Globe Theater, San Diego, California. Opened in San Diego 4 December 1986 to 11 January 1987.

Cast: Kim Crosby (Cinderella), Kenneth Marshall (Cinderella’s Prince), George Coe (Cinderella’s Father), Merle Louise (Cinderella’s Mother), Joy Franz (Cinderella’s Stepmother), Kay McClelland (Florinda), Lauren Mitchell (Lucinda).

Revised by Sondheim and Lapine after the San Diego run; opened the Martin Beck Theatre, New York, on 5 November 1987. 750 performances.

Cast: Narrator (Tom Aldredge), Cinderella (Kim Crosby), Jack (Ben Wright), Baker (Chip Zien), Baker’s Wife (Joanna Gleason), Cinderella’s Stepmother (Joy Franz), Florinda (Kay McClelland), Lucinda (Lauren Mitchell), Jack’s Mother (Barbara Bryne), Little Red Ridinghood (Danielle Ferland), Witch (Bernadette Peters), Cinderella’s Father (Edmund Lyndeck), Cinderella’s Mother (Merle Louise), Mysterious Man (Tom Aldredge), Wolf (Robert Westenberg), Rapunzel (Pamela Winslow), Rapunzel’s Prince (Chuck Wagner), Grandmother (Merle Louise), Cinderella’s Prince (Robert Westenberg), Steward (Philip Hoffman), Giant (Merle Louise), Snow White (Jean Kelly), Sleeping Beauty (Maureen Davis). A videotape was made of this production and shown on PBS in 1989.

[Synopsis: In Act II the prince proves unfaithful, and Cinderella discovers she’s not really in love with him anyway; she ends up with the Baker, helping with the children, after the Baker’s Wife has been seduced by the prince and killed by the Giant’s Wife. Nothing is easy or clear in the woods, but “No one is alone,” either. The musical opens and concludes with Cinderella’s “I wish…”]

See also Richard Bruno,A Study Guide for “Into the Woods,” in Educational Materials. National tour opened at the Parker Playhouse, Fort Lauderdale, 22 November 1988; closed Naples/Marco Philharmonic, Naples, Fla, 17 December 1989. Road Cast: Kathleen Rowe McAllen, succeeded by Jill Geddes (Cinderella), Chuck Wagner (Cinderella’s Prince), Don Crosby (Cinderella’s Father), Anne Rickenbacker (Cinderella’s Mother), Jo Ann Cunningham (Cinderella’s Stepmother), Susan Gordon-Clark (Florinda), Danette Cuming (Lucinda).

Phoenix Theatre, London. Opened 25 September 1990. 186 performances. Cast: Jacqueline Dankworth (Cinderella), Clive Carter (Cinderella’s Prince), John Rogan (Cinderella’s Father), Eunice Grayson (Cinderella’s Mother), Ann Howard (Cinderella’s Stepmother), Elizabeth Prince (Florinda), Liza Sadovy (Lucinda).

St. Lawrence Centre, Toronto. April, 1995. Artistic Director: Bob Baker. Set Design by Leslie Frankish. Cast: Ron Hastings (Narrator), Loretta Bailey (Cinderella), Avery Saltzman (Baker), Mary Ann McDonald (Baker’s Wife), Kathy Michael McGlynn (Witch). This production moved to Theater Calgary in June. See the review by Lois Kivesto,The Sondheim Review, 2 (Summer 1995), pp. 18-19, for picture of the set and Loretta Baily as Cinderella.

Donmar Warehouse, London. November 1998-February 1999. Directed by John Crowley. Cast: Frank Middlemass (Narrator), Jenna Russell (Cinderella), Christopher Pizzey (Jack), Michelle Blair and Zoe Walsham (Milky White), Nick Holder (Baker), Sophie Thompson (Baker’s Wife), Louise Davidson (Cinderella’s Stepmother), Caroline Sheen (Florinda), Ceri Ann Gregory (Lucinda), Sheila Reid (Jack’s mother), Sheridan Smith (Little Red Riding Hood), Clare Burt (Witch), Michael N. Harbour (Cinderella’s Father); mysterious Man), Dilys Laye (Cinderella’s Mother; Red Riding Hood’s Grandmother; Giant), Damian Lewis (Wolf; Cinderella’s Prince), Samantha Lavender (Rapunzel), Matt Rawle (Rapunzel’s Prince); Tony Timberlake (Steward).

Kelly, Tim. Cinderella Meets the Wolfman: A Howlingly Funny Musical Spoof. Book by Tim Kelly. Music and Lyrics by Jack Sharkey. London: Samuel French, 1988. 73 pp.

Cast: Tour Guide of Castle Charming, three tourists, Igor the court jester, King and Queen Charming of Vestigia, Snig and Snot the first and second First Ministers, Prince Vladimir (Is he cursed or not?), Gypola the gypsy matchmaker, three marriageable girls, Cinderella, Mrs. Shrub her stepmother, Ivy and Oleander Shrub the stupid stepdaughters, the farmer who saw a wolf, Paula Pond (Hollywood royalty), Mitzi her maid and Rodolpho her chauffeur, a gate-crasher, castle staff, guests, and villagers who make up a chorus.

[Synopsis: Act I: Tour Guide and ogling tourists learn of the antiquity of the castle and its proximity to Transylvania. The tour is interrupted by the castle staff singing “Bankruptcy”; Igor entertains the tourists, while Snig and Snog inform the Charmings of their destitution. We learn that the prince is a werewolf (“No one’s perfect”), but they’ve got to get him married to someone with money (“She Won’t Suspect a Thing”). Gypola brings forward candidates for marriage. Vlad’s not impressed; in fact, he’s depressed. Mrs Shrub and daughters arrive. The marriage candidates sing “I’ll be a Princess.” Cinderella arrives and meets Snig and Snog. They’re impressed that she can do housework for no pay. Vlad meets Cinderella and is impressed that she’s beautiful and not a husband hunter. She gets him to help her with her work. They sing “The Moment I Saw You” as they hold the hamper. The dance tomorrow is to be at full moon. Gypola hypnotizes Igor who thinks he’s a chicken. As night falls Vlad starts itching his hands and suddenly has an appetite for girls. Sings “This is my night to howl” and “Look at this Menu of Yummy Young Girls.” Thunderclap and Wolfman appears.

[Act II: Next morning, with everyone talking about the beast in the castle. The farmers affirm that it was a wolf. Paula Pound and the Hollywood royalty arrive in time for the second night of the ball when Vlad is to make his decision. The Hollywood crew fix up Cinderella to “Magic Time,” except that the result makes her look like a grade-A klutz. At the ball Vlad acknowledges that he’s a werewolf and sings “The Beast in Me.” Cinderella would leave because she is so poor. Vlad would restrain her since he loves her. Nonetheless, she’s penniless. But she knows Vlad’s a werewolf and loves him all ways. A man enters with a parachute. It’s Walter her father, who accidentally landed in Cincinnati by mistake and has had to walk. Cinderella discovers that she has all the money in the kingdom. They’ll take the story to Hollywood and Paula will be star. Snig and Snog will marry Ivy and Oleander because they now have money. Vestigia is saved. All sing “If the Shoe Fits” and embrace.]

Cinderella On Ice. St. Louis (Mo.) Municipal Theater. 23 to 29 July 1990. Produced by the St. Louis Municipal Theatre, Paul Blake, executive producer. Directed by Paul Blake. Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Production design by Paul Wonsek. Choreography by Robin Cousins. Musical Director: Bruce Pomahac. Production Stage Manager: Robin Rumpf.

Cast: Rachelle Ottley (Cinderella), Robin Cousins (The Prince), Gretchen Wyler (Stepmother), Nancy Dussault (Fairy Godmother), Adolph Green (The King), Phyllis Newman (The Queen), Barbara Sharma (Joy), Lois Foraker (Portia), Cliff Bernis (The Herald), Michael Jokerst (The Chef), Neal Frederiksen (The Steward), Shirley Carron, Maria Causey, Kevin Kurth, Karen Moehsmer, Sherry Ollar, Terry Pagano, Tony Paul, Bob Pellaton, Gina Randazzo, Dennis Sveum, John Taylor, Ken Webb (Skating Chorus). Cliff Bernis, Jane Boschert, Michele Burdette-Elmore, Neal Fredriksen, Michael Jokerst, Debby Lennon, Rebecca Ann Lillie, Kevin McMahon (Singing Chorus).

Cinderella… Frozen in Time. Dorothy Hamill’s Ice Capades. National Ice Capades Tour, and for CBS/TV. 1994. 90 minutes. Dorothy Hamill Production. Costumes by Desmond Heeley.

Cast: Lloyd Bridges (Narrator), Dorothy Hamill (Mother/Cinderella), Andrew Naylor (Prince Charming), Catherine Foulkes (Fairy Godmother), Jared Randolph and David Jamison (The Nasty Stepsisters), J. Scott Driscoll (Buttons).

[A mother leaves her son and daughter beside a frozen pond. They play in the snow then meet a strange old man who creates a cozy fire and then, as if by magic, places the children in the world of Cinderella, as he tells her story, which unfolds before them on the ice. The plot follows British panotmime conventions, with Buttons as her friend, ugly sisters played by clumsy men in drag, a pumpkin coach to the ball, and a trip back through a terrifying dark realm after midnight, where fiends try to spoil Cinderella’s dreams. But day comes, the Prince finds her, and the crystal skate fits. See review by Cynthia Hanson in the News section of theChicago Tribune, 24 March 1994, p. 28. For a more detailed synopsis see Cinderella Frozen in Time under Movies.]

Robbins, Norman.Cinderella: A Musical.Playhouse 91, New York. 19 December 1991 to 8 March 1992. Presented by the Riverside Shakespeare Company. Artistic Director: Gus Kaikkonen. Music by Dan Levy. Lyrics by Amy Powers and Dan Levy. Directed by Laura Fine. Set design by Harry Feiner. Lighting by Stephen Petrilli. Costumes by Gail Baldoni. Stage Manager: Paula Gray.

Cast:Melanie Wingert (Cinders), Anthony Stanton (Prince Charming), Mark Honan (Buttons), Fredi Walker (Dandini), Lora Lee Cliff (Fairy Godmother), Diana Ciesia (Baroness Medusa Hardupp), Robert Mooney (Asphyxia), John Keene Bolton (Euthanasia), Jim Fitzpatrick (Ammer), Jay Brian Winnick (Tongs).

Rosenzweig, Sid.Cinderella: An Original Musical. Rochester Children’s Theatre, Rochester, New York. December 1991. Music and Lyrics by Patricia Chadwick. Directed by Marcy Gamson.

Cast: Elaine Good (Stepmother), Jodi Beckwith (Cinderella), Lucia Ennocenti (Stepsister Gabby), Kathy Clarke (Stepsister Minerva), J. C. Alton (Herald, Prince), Terrance Hill (Servant I), Tom Giancursio (Servant II), Jim Scholes (King), Sonya Raimi (Nanny, Fairy Godmother).

[Act I: Cinderella’s House. The stepfamily makes demands on Cinderella and insults her. She deals with a mouse in Minerva’s room. The Prince arrives disguised as the Herald announcing the ball. He catches a glimpse of Cinderella, but the step family talk him out of inviting her. Cinderella consoles herself with song.

[Act II: The Palace. The King and the Prince’s Nanny discuss the Prince’s maturity. The Prince enters and sings “Suitable,” a song about it being a bad year for princesses, since he can’t find any one suitable for himself. He has the servant girl on his mind, though he’s too shy to talk about it, just as he was too shy to invite her. He admires the strength inside her. “She’s wonderful, but a servant is not…” Nanny suggests that he can dream.

[Act III: The stepfamily tries on the gowns Cinderella has made for them (in good taste), which they have adorned (in bad taste). They scorn Cinderella’s sense of style and fuss with their hair. Stepmother tells her to make pumpkin pies, then sets out for the ball. The Fairy Godmother appears to help Cinderella get ready, warning her about leaving by midnight.

[Act IV: The Palace Garden and the Ball. Cinderella arrives and the Prince has his dream come true. The Prince asks her name, and she replies, “Allehcinder.” The Prince tells her of his adventure disguised as the Herald. Cinderella figures out how it is that she has seen him before. They sing a love duet, “Your Face Looks So Familiar.” The stepmother makes a pass at the King and sings a parody of “Your Face Looks So Familiar.” At midnight Cinderella flees, losing one of the glass slippers.

[Act V: Next morning at Cinderella’s house. They talk about the dance, the mysterious woman, and the slipper. Cinderella slips out to try on once more the remaining slipper. Gabby sees her, steals the slipper and hides it. Minerva sees her hide it and steals it from Gabby. The stepmother sees Minerva hide it and steals it for herself. She hides it in the same place Cinderella originally had hidden it, not knowing the sequence of thefts. When the Prince arrives they try to fit the slipper, but when they fail each tries to produce the other slipper, but cannot find it. The Stepmother starts to say where it is when the Prince suddenly remembers the servant girl and asks for her. The slipper fits and she, to the amazement of the others, produces the second slipper, which is where she put it. When she tells him she is Cinderella he figures out the riddle and embraces her. The play ends with the Fairy Godmother, then others joining to sing “Something Happens, Something Changes.”]

Disney on Skates. TV. 1994. Excerpts of the Disney Cinderella movie along with a ballet on ice skates. Cinderella opens the review.

A Tale of Cinderella. Premiered 4 December 1994. Schacht Fine Arts Center, Troy, New
York. Book by W. A. Frankonis. Music by Will Severin and George David Weiss. Lyrics by George David Weiss. Co-produced for the New York State Theatre Institute by Olga A. Delorey and Patricia Di Benedetto Snyder. A CD was made of the original production.

Musical numbers: Act I: 1. Overture, 2. Buon Giorno. 3. The Tale of Cinderella, 4. Hear Us, 5. Cinderella, 6. Scene: In the House, 7. Poop, Poor, Poor, 8. Scene: In the House, 9. In the Air, 10. Scene: In the House, 11. These Graceful Hands/ Stepmother Casts a Spell, 12 Scene: In the Square, 13 Showoff, 14. Scene: In the Square, 15 Have Faith, 16. Scene: In the Square, 17. Make Magic, 18 Scene: In the Square, 19. Demons and Devils and Witches, 20, Peliculo. 21. Scene: In the Square, 22. Unvarried Women. Act II: 23. Out of the Ashes, 24. Bring my Porridge, 25. Some Sweet Day, 26. Can You Believe It?, 27. Scene: In the House, 28. Love, Love, Love, Love, 29. Scene: In the Square, 30. Showoff (Reprise), 31. Scene: In the Square, 32 Bella/Mi Dispiace, 33. Scene: In the House, 34. Amulet, 35. Scene: In the House, 36. Don’t Mess With La Stella, 37. Compliments, 49. Scene: In the Palace, 41. No One Ever Told Me, 42. Scene: Midnight Chimes, 43. Scene: In the Square, 44. The Prince, 45. Scene: In the House, 46. You Are My Love/No One Ever Told Me (Reprise), 47. Cinderella (Finale).

[Synopsis (from the Program): In the time of fairy tales and magic, in the Italian city of Venice Venetians greet a new day (Buon Giorno).]

Ms. Cinderella. A New Musical. Chicago. Opening 1 November 1995. Directed by Joe Leonardo. Book by Sean Grennan and Kathy Santen. Music by Michael Duff. Lyrics by Cheri Coons. Executive Producer: Kary M. Walker. Artistic Director: Dyanne Earley. Associate Producer: Terry James. Set Design by Thomas M. Ryan. Costume Design by Nancy Missimi. Lighting Design by Diane Ferry-Williams. Properties Design by Kathy Klaisner. Conducted by Patti Garwood. Orchestrations by David Siegel. Musical Direction by Terry James. Choreography by Eric Holt.

Cast: Nancy Voits, Rick Boynton, David New, Carol Kuykendall, James FitzGerald, Brad Mott, Iris Lieberman, Catherine Lord, Jill Walmsley, Blake Hammond, Scott Calcagno, Kelli Cramer, Kevin Earley, Julie Emery, Stephen P. Full, Elizabeth Gelman, Mark Hawbecker, Joan Krause, Aaron Thielen, Sophia Thomas.

Sisterella.The Pasadena Playhouse. Pasadena, CA. 8 March to 21 April 1996. Book, Music, and Lyrics by Larry Hart. Directed by David Simmons. Presented by Michael Jackson. Executive Producers: Michael Jackson and Jerry Greenberg in association with Dick Scott, Inc. Scenic Design by Gary Wissmann. Lighting Design by Kevin Mahan. Costume Design by Pasquale Spezzano. Sound Design by Robert Ludwig. Musical Director Matthew Sklar. Musical Staging and Choreography by Raymond G. del Barrio. A Musical Theatre Works of New York City Production based on the Classic Fairy Tale, Cinderella. In association with Miramax Films and Tribeca Productions.

The Company (in alphabetical order): Francisco Avina (King Louie), Jody Keith Barrie (Dr. Goniff), Luis Camacho (Jean), Yvette Cason (Dahlia), Ralph Cole, Jr. (Babaloo), Sandor De Gracia (Bailiff, Manservant), Rafael Gracia (Pierre), Larry Hart (Indursky), Wanda L. Houston (Magnolia), Ron Kellum (Reporter, Newsie), Amy Keys (Queen Rolanda), Christopher R. Kirby (King Jean-Claude), Bonnie Lynn (Head Maid), Gregory McKinnon (Minister), Della Miles (Ella), Toni Morrell (Queen Marie), Rain Pryor (Chrysanthemum), Chuck Rosen (Butler), Jim Ryan (Monty Grubman), Jimmie Wilson (Prince Jean-Luc). Ensemble.

Synopsis: Act I: Sc. 1: The First Baptist Church, New York City, 1912; Sc. 2: The Kensington Mansion; Sc. 3: Dahlia’s Dressing Room at the Mansion; Sc. 4: Meanwhile, Downstairs at the Mansion; Sc. 5: The Garden; Sc. 6: The Attic; Sc. 7: Downstairs at the Mansion; Sc. 8: Sunnydale, Home for the Criminally Insane. Act II: Sc. 1: The Rutanian Embassy; Sc. 2: A Holding Room at the Courthouse; Sc. 3: The Courtroom.

Musical Numbers: Act I: “You Are My Shelter” (Company), “Who Will I Turn To” (Ella), “I Got the Money” (Dahlia and Company), “Changes” (Dahlia, Magnolia, Chrysanthemum, Indursky), “You Ain’t No Sister” (Magnolia and Chrysanthemum), “I Will Be There For You” (Indursky and Ella), “Doctor, Doctor, Doctor” (Dahlia), “I’ll Dish the Dirt” (Queen Marie and Dahlia), “Invitation to the Ball” (Magnolia and Chrysanthemum), “I’m Gonna Get Her” (Dahlia and Company), “Money: The Commitment” (Dahlia and Company), “Welcome Ella” (Dr. Goniff and Company), “I Need a Miracle” (Ella), “Fump!” (Babaloo), “Goin’to the Party” (Babaloo, Ella and Company). Act II: “Renaissance Costume Ball” (Company), “I’m Gonna Getcha” (Dahlia and Ella), “Queen’s Greetings (More Dirt)” (Queen Marie and Dahlia), “Throw Down” (Prince Jean-Luc and Company), “Barbeque My Chicken” (Magnolia), “Knight in Shining Armor” (Prince Jean-Luc), “Loved By Somebody” (Ella and Prince Jean-Luc), “Take Her Out” (Dahlia, Babaloo and Prince Jean-Luc), “What Are You Thinking” (Prince Jean-Luc, King Jean-Claude, and Queen Rolanda), “Stand Strong” (Ella and Indursky); The Trial: “Dirt” (Company), “If Ella is Insane” (Justice Smithers), “The Girl’s a Freak” (Grubman), “Ella is Sane” (Indursky), “Ella Freaks Out” (Ella). “Dahlia Testifies” (Dahlia), “The Verdict” (Justice Smithers); “Will You Be There For Me” (Prince Jean-Luc), “Little Ella” (Company).

[Synopsis:Ella’s father dies while she is away at school, and Dahlia, his new wife, is elated to have at last got the money she wants. When Ella returns she discovers that she has been moved to the attic and must live as a servant. It turns out, however, that at the last minute her father changed his will, leaving the money to Ella. But in her role as Ella’s guardian, Dahlia proves that “her daughter” is insane and has her committed to an asylum. A Prince Jean-Luc who has just come into his own in his far away country gives a ball. Ella escapes and attends. The Prince loves her even when he hears her story, though his parents object to the relationship. At the trial Ella is found to be sane and comes into her own.]

The Ice Princess: A Classic Tale on Ice. Directed by Danny Huston (1997). 60 minutes. Screenplay by Diether Dehm and Katarina Witt. Written for Television by John Goldsmith. Songwriters: Chrostopher Cross and Curtis Stigers.

Cast: Katarina Witt (the Princess), Christopher Barker (Prince), Vernon Dobtcheff (Chamberlain), Daniela Lunkewitz, Rosalynn Sumners, Toller Cranston, George Murcell, Hans-Heinz Moser, Hans Peter Minetti, Ivan Dessy.

[For synopsis see the entry under Movies.]