Rodgers and Hammerstein's musical adaptation of the fairytale. It was originally written and performed live on TV in 1957, starring Julie Andrews. A 1965 remake, starring Lesley Ann Warren and with a revised script (plus a Cut Song from South Pacific) was rerun well into The Eighties.A rewritten 1997 remake, which premiered on The Wonderful World of Disney, starred Brandy, along with Whitney Houston as both the co-producer and the fairy godmother. This version had a slightly more modern feel to it and featured a multiracial cast, along with an added character named Lionel and three other Richard Rodgers songs added to the score. While the original is clearly an old-fashioned medieval atmosphere, the remake is more surreal and colorful, and it's pretty debatable what country they're in (mostly due to the mixed races). Most theater fans prefer the 1957 original, but the remake is also quite popular among teenagers. The 60's remake is a huge Cult Classic, though, for the people who grew up from the sixties to the early nineties.The 1957 version was given a Screen-to-Stage Adaptation that served as a U.S. community theater staple for years, and occasionally had professional stagings (but never on Broadway). In the wake of the '97 remake, this version was revised for further professional stagings; the licenser now offers both the original version and a '97-based version (known as the "Enchanted Edition") to amateur groups.This show made its Broadway debut in the 2012-13 season, with a new book by Douglas Carter Beane and Cut Songs from other Rodgers and Hammerstein musicals added to the score. This version adds another villain in the form of Prince Christopher's evil regent Sebastian, who oppresses the poor of the kingdom — and whom Cinderella's stepmother is collaborating with.
Multiple versions contain examples of:
Adaptation Name Change: The stepsisters' names changed in each script. In 1957, they were Joy and Portia. In 1965, they changed to Prunella and Esmeralda. In 1997, they became Calliope and Minerva. In the 2013 Broadway production they are named Charlotte and Gabrielle.
Call Back: In the 1965 and 1997 versions, after Cinderella's stepsisters fail to fit the slipper, Cinderella gets Prince Christopher's attention through circumstances similar to the scene in which they met.
Ironic Name: In the 1957 version, this applies to both stepsisters. Joy is a sourpuss and Portia isn't nearly as wise as the character in The Merchant of Venice that she's named after.
Love at First Sight: Discussed when Cinderella and Prince Christopher sing about how they met and fell in love "Ten Minutes Ago". (Although, in the 1965 and 1997 versions, the ball marks the second time they meet.)
Meaningful Name: Pointed out in the 1965 and 1997 versions. Cinderella explains that she got her name from sitting in the cinders.
Overly Long Name: Prince Christopher Rupert Windemere Vladimir Carl Alexander Francois Reginald Lancelot Herman (Herman?) Herman. Gregory James, son of Her Majesty Queen Constantina Charlotte Ermintrude Guinevere Maisie (Maisie?) Maisie! Marguerite Ann and His Majesty King Maximillian Godfrey Ladislaus Leopold Sydney (Sydney?) SYDNEY! Frederick John.
Triumphant Reprise: "Impossible" has a pessimistic and cynical first half, but also a part meant to create a glimmer of hope for Cinderella's dreams. After the Fairy Godmother grants Cinderella's wish to go to the ball, the two of them sing "It's Possible," which boasts more optimistic lyrics. It sounds especially triumphant in the 1997 version.
In the 1997 version, Cinderella expresses disappointment at having such a tight curfew. The Fairy Godmother then tells her that she doesn't make the rules about how long her magic can last.
The original musical contains examples of:
Adipose Rex: "I want the wine of my country! The wine of my country is beer!"
All Women Are Lustful: Stepsister Joy. She's even seen flirting with someone during Cinderella's wedding.
Ambiguous Time Period: While the remakes are clearly set in fairy tale kingdoms, the original could very easily be set in the 50's; the godmother telling Cinderella she would be better off as a hired servant makes it very likely that the piece is not set in ancient Europe.
Love at First Sight: Played absolutely straight. Jon Cypher looks like the floor's just dropped out from underneath him. In true musical fashion, the two leads proceed to sing about it in "Ten Minutes Ago."
Ten minutes ago I saw you, I looked up when you came through the door - my head started reeling, you gave me the feeling the room had no ceiling or floor! Ten minutes ago I met you, and we murmured our 'how do you do's' - I wanted to ring out the bells and fling out my arms and to sing out the news!
Magical Nanny: Sort of. In this version the fairy godmother really is Cinderella's godmother. She just hasn't told her she's a fairy yet.
Overly-Long Gag: Count how many times Cinderella is told to close the window. In the same scene.
Karmic Jackpot: In this version, Cinderella's kindness is emphasized when she gives a stranger some water; the stranger turns out to be the prince. Presumably, her mysterious familiarity is what attracts the prince at the ball. Later, when he goes to Cinderella's cottage, she offers him water a second time, leading him to finally realize who she is.
Beauty Equals Goodness: Really, this trope is completely discarded. In addition to the afforementioned Adaptational Attractiveness of the stepmother, it isn't ugliness that the stepsisters use to contrast with Cinderella. In this version, instead, they're clumsy, improper, stupid (even the stepmother shows signs she can't stand this; see Surrounded by Idiots below), and have some strange bad habits.
Broken Aesop: The fairy godmother encourages Cinderella to stop sitting around and dreaming and just get out there and make it happen. After which she proceeds to magically give Cinderella everything she wishes for.
But only after Cinderella has resolved to fix her dress and hitchhike to the ball if that's what it takes to make her dream come true.
The Cast Showoff: The fairy godmother usually only sings "Impossible/It's Possible" and one line at Cinderella's wedding (the same line used for this page's quote), but Whitney Houston closes this remake with another song, "There's Music in You." It originally came from an obscure MGM musical titled, Main Street to Broadway.
Also, most versions don't have the fairy godmother show up until the night of the ball, but this one has Houston appear at the beginning, and sing a rendition of "Impossible."
I'm pretty sure she was shooing her off so that her daughter could dance with the Prince.
The Girl Who Fits This Slipper: Played hilariously straight when Christopher allows a few white girls to try on the slipper, despite Cinderella having been African-American, and then subverted when it fits Cinderella's stepmother and Christopher refuses to believe she is the girl he danced with.
Go Mad from the Revelation: After the shoe fails to fit either of the stepsisters, Cinderella's stepmother becomes so desperate she'll do anything for the prince's money. She locks Cinderella in the kitchen, offers herself to the prince by trying on the shoe, helplessly begs him to marry one of her daughters, and then when all else fails, she gives a Big "NO!" and then passes out.
"I Want" Song: Cinderella's and Prince Christopher's "The Sweetest Sounds", originally written by Rodgers for No Strings.
In Case You Forgot Who Wrote It: When Disney Channel showed this movie, they clearly called it Rodgers and Hammerstein's Cinderella in the promos and bumpers, to avoid confusion with Walt Disney's Cinderella. The covers for the VHS and the DVD also do this, but so do the DVDs of other R&H musicals, including the two older versions of this one.
Large Ham: Basically everyone except the two leads has moments in this area, notably Whoopi Goldberg, Bernadette Peters, and Jason Alexander. Although Whoopi's portion of it consists of mostly squeaking.
Love at First Sight: Played straight between Prince Christopher and Cinderella at the ball, but averted earlier when they just become friends.
Meaningful Echo: Cinderella first meets the Prince when he, as a "charming stranger", helps her pick up her bags after a royal coachman runs over them. Later, during the who-fits-the-slipper part of the movie, Cinderella again falls victim to a royal coachman. They say the same lines every time, and as they recite them the second time, both of them are realizing exactly who the other is.
Christopher: Just like those royals, isn't it? Not caring if they're in anyone's way? Cinderella: Well, I'm sure they were going somewhere very important.
Then he asks for her name.
Cinderella: Cinderella. Christopher: Cinderella. I like it. Cinderella: It grows on you, I guess.
Meet Cute: When Cinderella first meets Christopher, who's disguised as a commoner. They bring back a few lines from that scene at the end; see Meaningful Echo above.
Really 700 Years Old: Some dialogue the Fairy Godmother mutters while turning the pumpkin into a coach reveals that she is over 600 years old, while Whitney Houston was only in her 30s at the time.
Rule of Three: In-universe, three members of Cinderella's family try the slipper on before she does; "The Prince Is Giving A Ball" goes through three Overly Long Names (including three Embarrassing Middle Names); and both "Impossible" and the added song "The Sweetest Sounds" are sung three times. Outside of that, three of the leads are African-American, three different shoe sizes were used for the slipper (only one model was actually made of glass), and three songs were added to the score.
Sassy Black Woman: The fairy godmother and the queen. Especially since they're played respectively by Whitney Houston and Whoopi Goldberg.
Show Some Leg: The stepmother trying to get on Lionel's good side. It doesn't work.
Lionel: You know, I honestly wish there were something between us.
Lionel: Yes, a continent.
Squee: After the stepmother tries on the shoe and it fits, she can't stop squealing. Until the shoe cuts her circulation off.
Villain Song: Well, Bernadette Peters had to sing something. The song, "Falling in Love with Love," is more of a statement of her opinion, and it's not done in a villainous manner. That may just be because it was originally written for a different show, The Boys From Syracuse, by Rodgers and Hart.
The 2013 version contains examples of:
Adaptational Attractiveness: Gabrielle, the older stepsister, is actually very pretty once she gets rid of her ridiculous puffy dress and Bavarian-pretzel hairstyle, and has a suitor in Jean-Michel.
Gabrielle is also considered attractive enough for Sebastian and Madame to believe she has a real shot with Prince Topher and hooking the two of them up is the main impetus for their scheme. Unfortunately, they have No Sparks.
Dating What Daddy Hates: Madame (the stepmother) does not approve of Jean-Michel, because he's poorer than they are and a social activist, and she has social-climbing aspirations. In fact, she disapproves so much that when she catches Gabrielle trying to sneak out with him, she kicks Gabrielle out of the house.
Evil Chancellor: Sebastian to Prince Topher. He was supposed to make sure Topher was ready to be a good, strong king, but instead he keeps him almost completely in the dark and is running the kingdom in his name. Poorly.
Gold Digger: This was Madame, and she believes her daughters should follow her example.
Madame: I married your father for love—he died, I cried. I married Cinderella's father for money—he died, I got a house.
Puppet King: Topher starts out as a Puppet Prince—he just signs off on whatever Sebastian asks him to without reading it. At one point, he even hands over his ring of state so Sebastian can get things done more efficiently.