2013 Its Possible Limited Liability Company and Rodgers & Hammerstein: An Imagem Company.

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ORIGINAL BROADWAY CAST RECORDING

The Prince is Giving a Ball

ROBYN GOODMANJILL FURMANSTEPHEN KOCIS
EDWARD WALSONVENETIAN GLASS PRODUCTIONSTHE ARACA GROUP
LUIGI CAIOLA & ROSE CAIOLAROY FURMANWALT GROSSMAN
PETER MAY/SANFORD ROBERTSONGLASS SLIPPER PRODUCTIONS LLC/ERIC SCHMIDT
TED LIEBOWITZ/JAMES SPRYBLANKET FORT PRODUCTIONS
IN ASSOCIATION WITH

CENTER THEATRE GROUP

PRESENT

RODGERS + HAMMERSTEINS

RICHARD RODGERS
OSCAR HAMMERSTEIN II
DOUGLAS CARTER BEANE
ORIGINAL BOOK BY OSCAR HAMMERSTEIN II
MUSIC BY

LYRICS BY

NEW BOOK BY

STARRING

LAURA OSNESSANTINO FONTANA

PETER BARTLETTANN HARADAGREG HILDRETH
MARLA MINDELLEPHUMZILE SOJOLA
WITH

HARRIET HARRIS
AND

VICTORIA CLARK
JILL ABRAMOVITZKRISTINE BENDULDREW FRANKLINHEIDI GIBERSON
STEPHANIE GIBSONSHONICA GOODENKENDAL HARTSEROBERT HARTWELL
LAURA IRIONADAM JEPSENANDY JONESANDY MILLSLINDA MUGLESTON
ALESSA NEECKPETER NELSONNICK SPANGLERKIRSTIN TUCKER
CODY WILLIAMSBRANCH WOODMANKEVIN WORLEY
SCENIC DESIGN

ANNA LOUIZOS

COSTUME DESIGN

LIGHTING DESIGN

WILLIAM IVEY LONG

KENNETH POSNER

HAIR AND WIG DESIGN

MUSIC DIRECTOR AND CONDUCTOR

MUSIC COORDINATOR

PAUL HUNTLEY

ANDY EINHORN

HOWARD JOINES

CASTING

TECHNICAL SUPERVISION

FIGHT DIRECTOR

ASSOCIATE DIRECTOR

CINDY TOLAN
ADAM CALDWELL

HUDSON THEATRICAL
ASSOCIATES

THOMAS SCHALL

GINA RATTAN

ASSOCIATE PRODUCER

CHARLES SALAMENO

PRESS REPRESENTATIVE

SOUND DESIGN

NEVIN STEINBERG
PRODUCTION STAGE MANAGER

IRA MONT
ASSOCIATE CHOREOGRAPHER

LEE WILKINS

COMPANY MANAGER

GENERAL MANAGEMENT

BRIG BERNEY

RICHARDS/CLIMAN, INC.

SAM RUDY MEDIA RELATIONS

ORCHESTRATIONS

DANNY TROOB
MUSIC ADAPTATION, SUPERVISION AND ARRANGEMENTS

DAVID CHASE
CHOREOGRAPHED BY

JOSH RHODES
DIRECTED BY

MARK BROKAW
THE PRODUCERS WISH TO EXPRESS THEIR APPRECIATION TO THE THEATRE DEVELOPMENT FUND FOR ITS SUPPORT OF THIS PRODUCTION
PRODUCED BY ARRANGEMENT WITH RODGERS AND HAMMERSTEIN: AN IMAGEM COMPANY

track list

topher
santino fontana

act two
13. stepsisters lament Charlotte,

act one
1. overture Orchestra
2. prologue Ella, Ensemble
3. me, who am i? Topher,

Ladies of the Court

14. the pursuit Topher, Lord Pinkleton,

Lords of the Court

Lord Pinkleton, Sebastian, Knights

15. he was tall Ella

16. when youre driving
through the moonlight

4. in my own little corner

Ella

5. the prince is giving a ball/

now is the time Sebastian,
Topher, Lord Pinkleton, Jean-Michel,
Townspeople, Madame, Ella, Gabrielle, Charlotte

6. in my own little corner

(reprise) Ella, Marie
7. impossible Marie, Ella
8. transformations Orchestra
9. its possible Marie, Ella
10. ten minutes ago Topher, Ella
11. cinderella waltz Orchestra
12. ten minutes ago (reprise)
Topher, Ella, Ensemble

Ella, Madame, Charlotte, Gabrielle

17. a lovely night Ella, Madame,

Charlotte, Gabrielle

18. a lovely night (reprise)

Ella, Gabrielle

19. loneliness of evening

Topher, Ella

20. announcing the banquet

Sebastian, Lord Pinkleton, Heralds, Madame

21. theres music in you Marie

22. do i love you because
youre beautiful? Topher, Ella
23. the shoe fits Lord Pinkleton and
The Company

24. the proposal Topher, Ella,

The Company

25. the wedding: theres music

in you Lord Pinkleton, Marie,
The Company

26. exit music: cinderella

march Orchestra

Me, Who Am I?

marie
victoria clark

cast

orchestra

(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

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
HORN:
Lynne
Cohen
CLARINET/Eb CLARINET/BASS
CLARINET: Jonathan Levine
BASSOON/FLUTE/CLARINET:
Daniel Sullivan
FRENCH HORNS: Adam Krauthamer,
David Byrd-Marrow
TRUMPETS: Dominic Derasse,
Gareth Flowers,
Anthony Kadleck (alternate)
TROMBONE/BASS TROMBONE:
John Allred
PERCUSSION: Bill Hayes
DRUMS: Rich Rosenzweig
HARP: Susan Jolles
VIOLIN/CONCERTMASTER:
Emily Bruskin Yarbrough
VIOLINS: Lisa Matricardi,
Maxim Moston, Mineko Yajima
VIOLA: JJ Johnson
CELLO: Sarah Seiver
BASS: Mark Vanderpoel

madame
harriet harris

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 & Hammersteins 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 Londons 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 + Hammersteins 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 newshear
ye, hear yeis 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, Were 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 Robyns eyes lit up. She
started 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.

Stepsisters Lament

Opening Night. March 3 rd, 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 my very first meeting, pointed out things that have been altered from the
well-known Charles Perrault telling of the tale over the years, things that he wanted to reference, that make the story
rather different than what most people expect. I wont be a spoiler, but Ill ask some questions that get answered in
the show: Why the glass slippers? Why do the stepsisters behave as they do? Whats with leaving the slipper behind
at the ball? What human attribute is missing from the royal court? Director Mark Brokaw and choreographer Josh
Rhodes guided the show with sure hands, understanding what makes a musical work. The design team created a world
in which everything you ever felt about fairy tales is present. That included making sly references to many artists,
ranging from Giuseppe Arcimboldo to Pieter Brueghel the Elder to Deborah Butterfield. (See the show and youll find
them.) Anna Louizos and William Ivey Long determined that they, as set designer and costume designer respectively,
would create all the stage magic in front of our eyes, lit magically by Kenneth Posner. And Nevin Steinbergs sound
design allowed the various worlds on stage to coexist seamlessly. Magic is what they have all created. At this writing I
have probably seen the show fifteen times, and I still marvel at the transformations!
And the castwell, perfect. Laura Osnes simply is our Cinderella for today young, gorgeous, with a beautiful voice,
but ready to stand up for herself. Her prince, Topher, is the endearingly charismatic Santino Fontana. When we see
them together, we hope theyll find each other, and figure it all out. While certainly there are fairy tale references to
their roles, these are two sympathetic young people, trying, hoping, fumbling, caring and funny. The fairy godmother
is in the best of hands, and when she changes from - no, I wont well, lets just say that Victoria Clark oversees
everything with great wisdom. Impossible things are happening every day, she sings, and we believe her. Harriet
Harris plays a stepmother who manages to be both mean and oddly endearing. And they are surrounded by an
extraordinary collection of comedians Peter Bartlett, Ann Harada, Marla Mindelle, Greg Hildreth, and Phumzile
Sojola and an ensemble of the best singers and dancers Broadway has to offer. Triple threats all.
And the music department. When you do a show with a score written by people who are no longer with us, the
responsibility becomes all the more important. The people assigned the tasks must use their instinct, knowledge,
musicianship and talent to figure out how the past gets honored while the present gets served. Which brings us to the
leader of this team: David Chase. David understands Richard Rodgers music instinctively, and his choices always serve
the show and the composer. That the score sounds like one complete entity is largely due to Davids talent. Rounding out
the team are top drawer orchestrator Danny Troob and musical director/conductor Andy Einhorn who guides the music
every night from the podium of a large pit with a 20 piece orchestra. (I should also note their advisor was the Director of
Music at Rodgers & Hammerstein, Bruce Pomahac, whose knowledge of Rodgers & Hammerstein is unequalled and whose
spirit is unflagging.) The additional material, mostly songs cut from SOUTH PACIFIC, ME AND JULIET and THE KING AND
I, blended in so well that many have no idea what was added. And one song was created for one of the best bad movies
ever, a movie that purported to be about the honest world of Broadway called MAIN STREET TO BROADWAY.
So with a gracious nod of thanks to the people at the Broadway Theatre, and an embrace to the emotional,
human, melodic world of Rodgers & Hammerstein, welcome to Rodgers + Hammersteins CINDERELLA.
Ted Chapin is President of Rodgers & Hammerstein: An Imagem Company

Notation by Richard Rodgers in

his copy of the original script,
indicating the rhythm he feels
should go with a portion of
When Youre Driving Through
The Moonlight. The end result
parallels these notations exactly.

The only known time in the

collaboration when the two men
were separated and corresponding
during the creation of one of their
shows was during the writing of
CINDERELLA. Oscar Hammerstein
was in Australia, and this is an
excerpt of a letter to Richard
Rodgers that provides brief insight
into how these two collaborators
operated.

Original typed lyric to

Impossible this is , in many
ways, the essence of Oscar
Hammersteins outlook on life.

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 & Hammerstein musicals

are available through R&H Theatricals, www.rnh.com
Learn more about Rodgers & Hammerstein and CINDERELLA
at www.rnh.com
Follow @RnH_Org on Twitter
Like Rodgers & Hammerstein on Facebook,
www.Facebook.com/RodgersandHammerstein
The R&H logo is a trademark used under license from Rodgers & Hammerstein as licensee of Imagem, C.V.

synopsis
ACT 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 lets face it they werent 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. Thats what masqueraded as wit back upon that time. Poor Ellas 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 was
slated 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 Ellas stepmother
Madame (Harriet Harris) and Ellas 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 Sebastians 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 JeanMichel who tried to unite the townsfolk to raise their voices to be heard. (THE PRINCE IS GIVING A BALL/
NOW IS THE TIME)
Madames cottage (and Cinderellas late fathers 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 wasnt luck on our side? (IMPOSSIBLE/ITS 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 even a rousing round of ridicule the game the people of the court played
to rudely pick on one another. It was all so sophisticated, but then entered, please, our Ella, with her kindness and
sense of fairness. She fascinated our Prince Topher (TEN MINUTES AGO) and their song became a grand waltz.
(CINDERELLA WALTZ/TEN MINUTES AGO (REPRISE)) Alas, it was then the stroke of midnight. And our Ella
had just enough time to tell the prince that the world was not all pretty and bright. She raced down the stairs and
tripped, losing her shoe. As our first act ended, Ella quickly retrieved the shoe and dashed off.

Theres Music in You

laura osnes, victoria clark

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. (STEPSISTERS 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 Cinderellas 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 YOURE
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 of
a 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 Princes 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.
(THERES 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 between
Sebastian and Gabrielles Jean-Michel. Topher was ready to be a leader and knew the partner he needed
in love and life. (DO I LOVE YOU BECAUSE YOURE BEAUTIFUL?) But as is the case with all of the Fairy
Godmothers 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 needs 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 couldnt we all use that?

Oh and as the audience leaves the theater there is a lovely march. (EXIT MUSIC: CINDERELLA MARCH) Its a
jaunty bit of music, some of my favorite in the show and I always imagine it when someone tells me something is
impossible. I encourage you to do the same.
Impossible things are happening every day
Douglas Carter Beane

Cinderella Waltz

gabrielle
marla mindelle

A Lovely Night
laura osnes, harriet harris, marla mindelle, ann harada

charlotte
ann harada

The Shoe Fits

robert hartwell, santino fontana, laura osnes

Overture * In My Own Little Corner The Prince Is Giving A Ball*

Fol-de-Rol Impossible / Its Possible Announcing The Banquet*
Ten Minutes Ago Cinderella Waltz Stepsister Lament *
The Pursuit A Lovely Night Do I Love You (Because Youre
Beautiful)? The Pursuit The Proposal * Exit Music (Cinderella
March) Copyright 2013, 1957 by Richard Rodgers and Oscar
Hammerstein II; Copyright Renewed.
When Youre Driving Through The Moonlight The Shoe Fits
Copyright 2013, 1962, 1957 by Richard Rodgers and The Estate of
Oscar Hammerstein II; Copyright Renewed.
Transformations * Copyright 2013, 1957, 1947 by Richard Rodgers
and Oscar Hammerstein II; Copyright Renewed.
Prologue * Loneliness Of Evening * Copyright 2013, 1949 by
Richard Rodgers and Oscar Hammerstein II; Copyright Renewed.
Theres Music In You * Transformations * The Wedding *
Copyright 2013, 1952, 1947 by Richard Rodgers and Oscar
Hammerstein II; Copyright Renewed.
He Was Tall * Copyright 2013, 1957, 1953 by Richard Rodgers and
Oscar Hammerstein II; Copyright Renewed.
Now Is The Time * Me, Who Am I? * Copyright 2013, 1985 by
The Estate of Richard Rodgers and The Estate of Oscar Hammerstein
II.
Williamson Music (ASCAP), an Imagem Company, owner of
publication and allied rights throughout the World. International
Copyright Secured. All Rights Reserved. Used by Permission.
*Additional material Copyright 2013 Imagem CV
Additional lyrics by Douglas Carter Beane and David Chase.

Full lyrics available at

www.CinderellaOnBroadway.com/Lyrics

The Wedding: Theres Music in You

Produced for Records by David Caddick, David Lai, David Chase, and Bruce Pomahac
Executive Producer: Kurt Deutsch

Recorded and Mixed by Todd Whitelock and Isaiah Abolin

Edited by David Lai
Pro Tools Engineer: Fred Sladkey
Assistant Engineers: Dan Fyfe, Gloria Kaba
Mastered by Mark Wilder at Battery Studios
Associate Album Producers: Steve Norman and Greg Brunswick
Music Adaptation, Supervision, and Arrangements: David Chase
Music Director: Andy Einhorn
Orchestrations: Danny Troob
Additional Orchestrations: Bill Elliot, Doug Besterman, Larry Hochman
Music Coordinator: Howard Joines
Synthesizer Programmer: Jeff Marder
Music Assistant: Brendan Whiting
Music Preparation: Anixter Rice Music Service
General Managers: David R. Richards and Tamar Haimes
Company Manager: Brig Berney
Production Stage Manager: Ira Mont
Package Design: Jessica Disbrow Talley
Production Photos: Carol Rosegg
Opening Night Photo: Walter McBride
Production Assistants: Steven Stuts, Alexi R. Melvin
Recorded March 17-18, 2013 at MSR Studios, NYC
Edited 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 the
Producers+Investors of the Broadway musical.

It s Possible
laura osnes