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2013 It’s Possible Limited Liability Company and Rodgers & Hammerstein: An Imagem Company. This compilation Copyright © 2013 Imagem C.V., under exclusive license to Ghostlight Records.International Copyright Secured. Used by Permission. Ghostlight logo is a trademark of Sh-K-Boom Records, Inc. 630 Ninth Avenue, #407, New York, NY 10036. Distributed by Razor & Tie Direct, LLC.“Razor & Tie” and the Razor & Tie logo are registered trademarks of Razor & Tie Direct, LLC. Unauthorized duplication is a violation of applicable laws. All Rights Reserved.
ghostlightrecords.com ORIGINAL BROA
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“The Prince is Giving a Ball”
HAIR
P
CAST
CINDY ADAM CA
A
THEP
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topher– santino fontana
“Me, Who Am I?”
tract one
1. overture – Orchestra
2. prologue – Ella, Ensemble
3. “me, who am i?” – Topher,Lord Pinkleton, Sebastian, Knights
4. “in my own little corn – Ella
5. “the prince is giving a “now is the time” – Sebasti
Topher, Lord Pinkleton, Jean-Michel,Townspeople, Madame, Ella, Gabrielle
6. “in my own little corn(reprise) – Ella, Marie
7. “impossible” – Marie, Ella
8. transformations – Orches
9. “it’s possible” – Marie, Ella
10. “ten minutes ago” – Tophe
11. “cinderella waltz” – Orc
12. “ten minutes ago” (repr– Topher, Ella, Ensemble
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6
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cast (in order of appearance)
LAURA OSNES – Ella
SANTINO FONTANA – Topher
PHUMZILE SOJOLA– Lord Pinkleton
PETER BARTLETT – Sebastian
VICTORIA CLARK – Marie
GREG HILDRETH – Jean-Michel
HARRIET HARRIS – Madame
MARLA MINDELLE – Gabrielle
ANN HARADA – Charlotte
Knights, Townspeople, Lords & Ladies
of the Court, Heralds –
JILL ABRAMOVITZ, KRISTINE
BENDUL, DREW FRANKLIN, HEIDI
GIBERSON, STEPHANIE GIBSON,
SHONICA GOODEN, KENDAL
HARTSE, ROBERT HARTWELL,
LAURA IRION, ADAM JEPSEN,ANDY JONES, ANDY MILLS, LINDA
MUGLESTON, ALESSA NEECK,
PETER NELSON, NICK SPANGLER,
KIRSTIN TUCKER, CODY WILLIAMS,
BRANCH WOODMAN, KEVIN
WORLEY
marie– victoria clark orchestra
CONDUCTOR: Andy Einhorn
ASSOCIATE CONDUCTOR/ KEYBOARD: Matt Perri
PICCOLO/FLUTE/ALTO FLUTE:Katherine Fink
O B O E / E N G L I S
H O R N : L y n n e C o h e
CLARINET/Eb CLARINET/BASSCLARINET: Jonathan Levine
BASSOON/FLUTE/CLARINET:Daniel Sullivan
FRENCH HORNS: Adam KrauthamerDavid Byrd-Marrow
TRUMPETS: Dominic Derasse,Gareth Flowers,Anthony Kadleck (alternate)
TROMBONE/BASS TROMBONE:John Allred
PERCUSSION: Bill Hayes
DRUMS: Rich Rosenzweig
HARP: Susan JollesVIOLIN/CONCERTMASTER:
Emily Bruskin Yarbrough
VIOLINS: Lisa Matricardi,Maxim Moston, Mineko Yajima
VIOLA: JJ Johnson
CELLO: Sarah Seiver
BASS: Mark Vanderpoel
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cinderella from then to now– Ted Chapin
Rodgers & Hammerstein were the biggest brand in the world of Broadway when Broadway was the biggest
brand in popular entertainment. OKLAHOMA!, CAROUSEL, SOUTH PACIFIC, THE KING AND I – all theirs.
CBS-TV, operating in the comparatively new world of television, wanted to tap into Broadway, and in a
spectacular way. They wanted to use the newest toast of the town, the star of MY FAIR LADY: Julie Andrews.
What idea did they come up with? Engage the team of Rodgers & Hammerstein to create an entirely new and
original musical for television. And what better story to use than the classic tale of dreams and hopes and happy
endings: CINDERELLA. It aired, live, on March 31, 1957. Over 107 million people watched that night – and the
population of the United States was only 170 million!
Rodgers & Hammerstein’s version of the oft-told tale turned out to be remarkably resilient. It has been remade
for television twice, once in 1965, starring Lesley Ann Warren, and again in 1997 with Brandy and Whitney
Houston. She made her stage debut in London’s West End in 1958, and the rest of the world followed, always
staged in revised versions, with additional songs added to fill out a full evening.
Flashing forward more than fifty years from the original: Rodgers + Hammerstein’s CINDERELLA is ensconced,
for the first time, in the place where musicals find their true home: Broadway. That “+” in the brand is well
earned, since while much of what appeared in 1957 is still here, the surround is very much a new musical for the
21st century. A classic has been brought into our times, and as one critic said when this production opened, “The
audience was filled with little girls in tiaras on the night I attended, and they were in thrall. The best news—hear
ye, hear ye—is that their parents had every right to be, too.”
This production came about when Robyn Goodman and I found ourselves fellow travelers on a trip to Israel
organized by legendary Broadway producer Manny Azenberg. We hit it off, and my memory is that one day Robyn
said to me, “We’re having such a good time, is there anything we could work on together?” Casually I mentioned
that the Rodgers & Hammerstein CINDERELLA had never been done on Broadway, and Robyn’s eyes lit up. Shestarted to sing some of the songs, and said that if we could find a way to make it work for a modern audience, it was
an idea worth pursuing. Give Cinderella more control over her own destiny, make her a bit more active, and put her
in a world that felt contemporary but honored the fairy tale.
Truth: I could never have dreamed in that conversation that I would be writing these liner notes for this album a few
years later. Robyn and her co-producers Jill Furman and Stephen Kocis assembled an ace team, and together they
have created something quite amazing. Producing is hard work, and these producers never lost their focus, good
cheer, or faith in the project. It simply never would have come about in other hands.
“Stepsister’s Lament
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Opening Night. March 3rd, 2013– douglas carter beane and mark brokaw
holding a photograph of richard rodgers
and oscar hammerstein ii, laura osnes
Enter Douglas Carter Beane, a man who, in m
well-known Charles Perrault telling of the tale
rather different than what most people expec
the show: Why the glass slippers? Why do the
at the ball? What human attribute is missing
Rhodes guided the show with sure hands, und
in which everything you ever felt about fairy
ranging from Giuseppe Arcimboldo to Pieter
them.) Anna Louizos and William Ivey Long d
would create all the stage magic in front of o
design allowed the various worlds on stage to
have probably seen the show fifteen times, an
And the cast…well, perfect. Laura Osnes simp
but ready to stand up for herself. Her prince
them together, we hope they’ll find each othe
their roles, these are two sympathetic young p
is in the best of hands, and when she chang
everything with great wisdom. “Impossible th
Harris plays a stepmother who manages to
extraordinary collection of comedians – Pete
Sojola – and an ensemble of the best singers a
And the music department. When you do a
responsibility becomes all the more importa
musicianship and talent to figure out how the
leader of this team: David Chase. David under
the show and the composer. That the score sou
the team are top drawer orchestrator Danny T
every night from the podium of a large pit with
Music at Rodgers & Hammerstein, Bruce Poma
spirit is unflagging.) The additional material, most
I, blended in so well that many have no idea wh
ever, a movie that purported to be about the ho
So with a gracious nod of thanks to the pe
human, melodic world of Rodgers & Hamme
Ted Chapin is President of Rodgers & Hamm
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The only known t ime in thecollaboration when the two menwere separated and correspondingduring the creation of one of theirshows was during the writing ofCINDERELLA. Oscar Hammersteinwas in Australia, and this is anexcerpt of a letter to RichardRodgers that provides brief insightinto how these two collaboratorsoperated.
The team of Rodgers & Hammerstein was the most successful partnership in the American musical theater.
In a career spanning 16 years, they wrote 9 musicals for Broadway,one movie, and one original musical for television: “Cinderella.”
Performance rights for all Rodgers &are available through R&H Theatrica
Learn more about Rodgers & Hammat www.rnh.comFollow @RnH_Org on TwitterLike Rodgers & Hammerstein on Facwww.Facebook.com/RodgersandH
The R&H logo is a trademark used under license fr
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synopsisACT ONE
Once upon a time, which is really how any good story worth its salt begins, there was a girl named Ella (Laura
Osnes). Now, Ella lived with her stepmother and stepsisters, and let’s face it they weren’t very nice to her. They
treated her like a servant girl and, because she sat by the fireplace and was dirty from the cinders, they called
her “Cinderella.” That’s what masqueraded as wit back upon that time. Poor Ella’s only moment of joy, such as
it was, occurred when she was sent into the woods to forage for mushrooms and kindling. It was during these
moments she dreamed of a better life. (PROLOGUE)
Once upon about the exact same time, there was a prince named Topher (Santino Fontana). He was an expert
at slaying dragons, griffins, and gargoyles (Not to mention Giants) but when it came to being a king, which wasslated to occur soon, he was at a loss. (ME, WHO AM I?)
Later that same once upon a time day, Prince Topher and Ella met and she offered him a drink of water. It was
a passing glimmer of kindness and quickly Topher was off to the palace. Ella then had a moment to talk to her
two friends: Jean-Michel (Greg Hildreth), an erstwhile revolutionary, and Crazy Marie (Victoria Clark), a woman
who lived at the edge of the forest and gathered what the others threw away. Soon arrived Ella’s stepmother
Madame (Harriet Harris) and Ella’s stepsisters: the always demanding Charlotte (Ann Harada) and the ever meek
Gabrielle (Marla Mindelle). Madame sent her favored daughters into the house and left poor Ella for a moment
to dream about a better life. (IN MY OWN LITTLE CORNER)
In the palace, Prince Topher, flanked by Lord Chancellor Sebastian (Peter Bartlett), and Sebastian’s henchman
Lord Pinkleton (Phumzile Sojola), was convinced the time was right for a Royal Wedding, a big ball would be
held to find the bride. Lord Pinkleton headed to the town square to make the announcement only to find Jean-
Michel who tried to unite the townsfolk to raise their voices to be heard. (THE PRINCE IS GIVING A BALL/
NOW IS THE TIME)
Madame’s cottage (and Cinderella’s late father’s home) was immediately a whirling swirl of activity as the
stepmother and stepsisters prepared for the ball. They quickly left Ella in their dust but Cinderella had a
moment to be warned by Jean-Michel that Prince Topher needed to know more about the people of his
kingdom. He teased our Ella that she should put on a pretty gown and tell Topher that the times were about to
change! Ella imagined again what it might be like. (IN MY OWN LITTLE CORNER (REPRISE)) And in came crazy
Marie who joked with Ella about how life could be so much better. But in order to do that, Marie would have
had to have been a fairy godmother. And my, but wasn’t luck on our side? (IMPOSSIBLE/IT’S POSSIBLE) Marie
revealed herself to be a fairy godmother, turned a pumpkin into a carriage, mice into horses, her rags into a
beautiful gown, a fox into a footman, a raccoon into a driver and on a cloud of promise Cinderella was off to the
ball! With one little caveat – everything would be gone by the stroke of midnight.
Well the ball was awash with dancing and eve
to rudely pick on one another. It was all so so
sense of fairness. She fascinated our Prince
(CINDERELLA WALTZ/TEN MINUTES AG
had just enough time to tell the prince that th
tripped, losing her shoe. As our first act ended
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ACT TWO
The Prince was determined to find this mystery woman in white who was telling him the truth. As he set off to
find her, the women of the court, led by stepsister Charlotte, tried to grasp that the Prince had not chosen any
of them to be his love. (STEPSISTER’S LAMENT)
A wild chase (THE PURSUIT) ensued and the prince searched high and low, and almost caught the lady in white,
but carriages rolled into pumpkins and Cinderella’s attendants, a footman and a driver, turned into a fox and a
raccoon. It proved that when a godmother tells you to be home by midnight you best listen.
Ella returned to the cottage (HE WAS TALL) just as Madame, Gabrielle and Charlotte entered in a state of
rejection. Ella began to tell them what she imagined the night at the Palace must have been like (WHEN YOU’RE
DRIVING THROUGH THE MOONLIGHT) which changed into a song about what it actually was like. (A LOVELY
NIGHT) Madame and her daughters and stepdaughter behaved for the first time like something on the verge ofa functional family.
But soon all came crashing back to normal, and when shy Gabrielle and Ella are left alone, Gabby realized that
Ella was indeed the woman in the ball. Rather than an enemy Gabrielle revealed herself to be not only an ally,
but also in love with Jean-Michel the firebrand. They vowed to keep their secrets and to be sisters. (LOVELY
NIGHT (REPRISE))
Prince Topher remained infatuated with the woman in the party who spoke the truth to him as he continued to
search. (LONELINESS OF EVENING) This searching allowed him to realize that Sebastian had been wrongdoing
in the Prince’s name. Topher decided to have a second event to find his woman of truth. (ANNOUNCING THE
BANQUET)
But alone and without a way to get to the banquet, Ella is saved in the nick of time by the Fairy Godmother, who
not only made her attire perfect for court, but gave her the confidence she needed to speak again with Topher.
(THERE’S MUSIC IN YOU)
It was on the steps outside the palace that Ella and the prince saw one another again. Ella told the prince how
he could be a great king, and he immediately took the lead and created an election for Prime Minister betweenSebastian and Gabrielle’s Jean-Michel. Topher was ready to be a leader and knew the partner he needed
in love and life. (DO I LOVE YOU BECAUSE YOU’RE BEAUTIFUL?) But as is the case with all of the Fairy
Godmother’s gifts, they are gone by midnight. Ella raced down the stairs but stopped and thinking of that last
journey out of the palace, she left a shoe behind for Topher. Sometimes a girl n eeds to be found.
So all is what you would have wanted from your Dream Broadway production of Cinderella: the prince was
trying the shoe on every woman in the land, he tried it on the servant girl. (THE SHOE FITS/THE PROPOSAL)
Yes, there was a happy ending. (THE WEDDING) But maybe there was also the added hope of kindness and fair
play woven into the happily ever after. And couldn’t we all use that?
Oh and as the audience leaves the theater
jaunty bit of music, some of my favorite in t
impossible. I encourage you to do the same.
“Impossib
“Cinderella Waltz”
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“A Lovely Night”– laura osnes, harriet harris, marla mindelle, ann harada
gabr– marla m
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The Shoe Fits– robert hartwell, santino fontana, laura osnes “
“““BMH “CO
“
a “R “CH “O “TI WpC
*
A
F
w
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The We
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Produced for Records by David Caddick, David Lai, David Chase, and Bruce PomahacExecutive Producer: Kurt Deutsch Recorded and Mixed by Todd Whitelock and Isaiah AbolinEdited by David LaiPro Tools Engineer: Fred SladkeyAssistant Engineers: Dan Fyfe, Gloria KabaMastered by Mark Wilder at Battery StudiosAssociate Album Producers: Steve Norman and Greg BrunswickMusic Adaptation, Supervision, and Arrangements: David ChaseMusic Director: Andy EinhornOrchestrations: Danny TroobAdditional Orchestrations: Bill Elliot, Doug Besterman, Larry HochmanMusic Coordinator: Howard JoinesSynthesizer Programmer: Jeff MarderMusic Assistant: Brendan WhitingMusic Preparation: Anixter Rice Music ServiceGeneral Managers: David R. Richards and Tamar HaimesCompany Manager: Brig BerneyProduction Stage Manager: Ira MontPackage Design: Jessica Disbrow TalleyProduction Photos: Carol RoseggOpening Night Photo: Walter McBrideProduction Assistants: Steven Stuts, Alexi R. Melvin
Recorded March 17-18, 2013 at MSR Studios, NYCEdited at Park Avenue Artists Studios, NYC
Mixed at MSR Studios, NYC
SPECIAL THANKS: Manny Azenberg, Wayne A. Blood, Richards/Climan Inc., Conrad Rippy,Loren Plotkin, Steve Storch, Victoria Traube, Tony Walton
This album was made possible by Ted Chapin/Rodgers+Hammerstein and theProducers+Investors of the Broadway musical.
“It ’s Possible”– laura osnes