EDUCATIONAL GUIDE
Written by
Vichet Chum
Contributing Editors
Marty Johnson
Lindsay Weiner Lupi
Costume Sketches
William Ivey Long
Managing Editor
Susan Fuller
Production Photos
Carol Rosegg
Designed by
The D&K Johnson Design Team
Created by the good folks at
www.CinderellaOnBroadway.com
iTheatrics.com
24
When all the waltzing and magic is said and done, Ella’s wishes do come true! It is important to have
dreams, and to achieve a “happily ever after,” one must work hard. Lead your students in an exercise,
asking them to write down their dreams and goals. Work backwards! What is their dream for 20 years
from now? What is their dream for 10 years from now? What is their dream for 5 years from now?
What is their dream for 1 year from now? By creating a timeline, your students will get a head start on
working towards their goals and dreams.
Help your students visualize their dreams through a dreamboard. Have your students bring corkboards,
safety pins and any items that represent their goals and ambitions. These items can include
magazine clippings, small trinkets or inspirational quotes; anything that will motivate a student by
just one glance. Give them free reign to design their boards and get creative. You might consider using
a base other than a corkboard, but the flexibility of the corkboard helps them remove and add things
they might want to change. Dreams may change, and that’s okay! Present these dream boards to the
class. Each student should get a brief amount of time to explain each item. With their newly created
dreamboards, students will have a great reminder to keep going and work toward their goals.
POST-PERFORMANCE ACTIVITY:
GOAL BUILDING
Dreams Do Come True!
A Magical Dreamboard
“IMPOSSIBLE THINGS ARE HAPPENING EVERY DAY.” -MARIE
23
In Prince Topher’s palace, a constitutional monarchy rules the kingdom. This form of government
places power in the hands of one ruler, who ultimately makes decisions on behalf of the people. Jean-
Michel defends the rights of the poor. His methodology represents socialism, where everyone gets the
same rights and no one rules over the other. In the musican, eventually the townspeople are granted
the opportunity to vote for the first Prime Minister of the kingdom, introducing democracy—a form of
government where everyone gets a vote.
Have your students research different forms of government. Divide your class into three groups.
Assign a method of government to each of the groups: constitutional monarchy, socialism and democracy.
After they’ve researched these governments, have each group introduce their structure of
governance and have them implement it into the classroom. They should have free reign to govern the
class according to their principles. (Within reason and at the educator’s discretion! For example, classmates
in a democracy can vote on “Cupcake Fridays,” etc.) At the end of the cycle, ask your students
to compare the three forms. What works? What doesn’t work? How do the other students feel in this
government? Have your students decide which form of government best suits their needs.
Democracy in America
The United States is ruled by a democracy. We have three branches of government: judicial, executive
and legislative. The Supreme Court rules over the judicial branch, the President rules over the executive
branch, and Congress rules over the legislative branch. They all check one another, so that no branch
has greater authority than the other. Have your students research democracy in America further.
Create a visual timeline of the evolution of democracy in America. How did it begin on our shores?
How does it work? How has it changed? What are important milestones for how we got to where we
are now? How is policy made today? How can everyday citizens be engaged in our own government?
GO FURTHER!
Hold an election in your classroom! This may be a long-term process, but with the right steps, students can
really benefit from understanding how an election process in America works. Students should extensively
research the national campaign process for picking a new President. Then set dates for having a Party Election
and, ultimately, a Presidential Election. When your President and members of Congress have been chosen,
complete the festivities with an official Inauguration Ceremony.
After your culminating Election Day, have you students debrief about what they’ve learned. How does
the electoral party work? Is the process fair and balanced? Is there another way in which people could vote
for our nation’s leaders? What would you change about the campaign trail? With a greater understanding of
the electoral process, students will become more engaged in the way our country makes important decisions.
POST-PERFORMANCE ACTIVITY:
SOCIAL SCIENCES
Cast Your Ballot!
“FRIENDS, THERE IS A WAY. IN ANCIENT GREECE, IN THE CITY OF ATHENS, THEY
DEVISED A RULING THAT WAS FAIR TO EVERYONE. EVERYONE... VOTED.” -ELLA
22
Using the research from the previous activity, have students create a book based on their
character or person of fame! This is a great opportunity for your students to flex their creative
muscles.
Create a 10-page book of the person they’ve researched. Begin with the cover. In the
center, they can paste a photo of that person. Around it, attach or draw elements that indicate
what most people would know about the person. For instance, for a book about Babe
Ruth, one may adorn the cover with pictures of baseball bats and other baseball paraphernalia.
Once they’ve decorated the cover, fill the next nine pages with lesser-known information
about their person. Each page can be dedicated to one surprising fact about that
person. They can cut out and attach photos or draw images of that unique fact.
With this book, your students can truly show how you can never judge a book by its cover!
POST-PERFORMANCE ACTIVITY:
VISUAL ARTS
Don’t Judge a Book
By Its Cover
21
Appearances Can Be Deceiving!
As we journey through this story, we learn you can never judge a book by its cover. At the beginning
of the show, Marie seems like a crazy poor woman, but she later transforms into Ella’s beautiful and
enchanted Fairy Godmother. Gabrielle first acts like a mean stepsister in line to marry Prince Topher,
but she’s really just in love with Jean-Michel and would rather be ladling soup to the poor. Prince
Topher is the most handsome and valiant bachelor in the kingdom, but from the very beginning, we
learn he’s a bit mopey and lacks self-confidence. Appearances indeed can be deceiving!
Have your students research a popular person in history and designate a day for them to perform
and emulate their characters in class! Great examples are Martin Luther King Jr., Albert Einstein,
Abraham Lincoln, Muhammad Ali or any other figure who was known for their occupation or an
important event. Encourage your students to investigate all facets of this person: their strengths,
weaknesses, likes, dislikes, etc. Be sure to have them focus on surprising elements of their characters’
personalities or lives that may contradict their public personas. Give each student five
minutes to perform as their researched characters. By having your students enact these people,
they will experientially understand how people can often be different from how they’re perceived.
POST-PERFORMANCE ACTIVITY:
EXPLORING FACETS OF CHARACTER
Who’s Behind the Mask?
POST-PERFORMANCE ACTIVITY:
PERFORMANCE AND SOCIAL STUDIES
Is That Really You?
20
Ella may have been given new dresses and some magic styling, but her newfound confidence
is the real makeover. Many young people may feel inadequate with their physical
appearance or their body image. Particularly, young women are inundated with images of
models on magazine covers that are airbrushed or digitally enhanced, perpetuating the idea
of a “perfect body.” Even in the Brothers Grimm version of Cinderella, the Stepsisters gruesomely
cut off parts of their feet so they may fit perfectly into the glass slipper.
Have your students discuss these ideas. What is the “perfect body?” What do they
feel when they see pictures of models in magazines? Is it important to have a specific body
type? How do these magazine images affect young people? Are these images dangerous?
GO FURTHER
Media
Ask your students to explore how the media (Internet, magazines, television, film, etc.)
portrays women and men. What images are most prevalent? Have them create a list of oneword
adjectives of what the media suggests “normal” body type is. Then have them add the
qualities that the media suggests are the most important for people in their own age group.
Next, students should create a list of what they think the “normal” body type should
be. Add to the list what they believe and want the most important qualities to be for
their peers. This exercise will help students learn more about how media and advertising
works and, hopefully, help them form their own opinions and learn to disregard the media’s
mighty influence.
Visual Arts
Collect a lot of magazines. Age-appropriate fashion magazines will work, but focus more on
magazines where candid photos may be found. Think National Geographic or Time magazine.
Have students find as many photos of people of different shapes and sizes. Cut them
out and glue them to a large poster board and make a collage. The more photos you find,
the better. Hopefully by assembling a collage of different people, your students will realize
how diverse the world is, especially when it comes to the body.
POST-PERFORMANCE ACTIVITY:
SELF-IMAGE AND BODY AWARENESS
Am I Perfect
for the Ball?
“IF I HAD A BALL GOWN, I THINK I MIGHT LOOK
SORT OF NICE.” –ELLA
19
“Ridicule” is a game played at the court where two opponents take turns saying something bad
about the other. In a court where such a game exists, how can one expect the problem of bullying
to change? Ella is the first to defy the rules of the game and instead offers a compliment to her
bully, Madame.
Play a version of “Ridicule” but with Ella’s twist. Let’s change it to “Kindness!” Have your
students stand in front of the class in pairs, one pair at a time. They will switch off giving one
another compliments. Each student gets three compliments. Encourage your students to be as
specific and kind as possible. This exercise will help your kids see that it’s more than okay to be
kind; it’s a celebration!
HERE ARE SOME PRACTICAL SOLUTIONS
TO ADDRESS BULLYING IN YOUR SCHOOL:
• Organize an anti-bullying rally or benefit. You can even plan to have it at an alreadydesignated
school pep rally or assembly. Invite speakers and teachers to talk about the
problems of bullying.
• Draft a petition for your school against bullying, and invite other people to sign it to support
the cause. The more signatures, the greater impact. If you have a call-board at your
school, post it there. It’ll be a great reminder for all your students.
POST-PERFORMANCE ACTIVITY:
BUILDING SELF-CONFIDENCE
“Ridicule”
18
Although fairy tales are known for their happily ever
afters, there are sometimes difficult elements to the
story that are meant to teach lessons. In the show, the
audience watches Madame and her daughters berate
Ella for not cleaning fast enough or not being good
enough. Bullying is certainly a topic that students
can relate to, whether they have been the victim, the
perpetrator or a witness. Students will have plenty of
thoughts and opinions about this growing problem.
Lead your class in a group discussion about bullying
and how it relates to the production. Have them
first identify examples of bullying in the play. Below,
you’ll find an excerpt from a scene between Madame
and Ella. Use this example and what your students
remember from the production to cite instances of
bullying. Ask them to describe what effects those
phrases and actions have on Ella as she progresses
through the story. Does she lose self-confidence?
How does she regain it? How does Ella fight for her
dreams in the face of being bullied?
What Can You Do?
Give the scene on this page to your students to act
out! Cast students in the two roles. Have them practice
the scene for 10 minutes. After rehearsal, have
one pair perform the scene in front of the class, and
have the rest of the class respond and identify what is
bullying behavior.
Next, brainstorm some solutions. What could Madame
do differently that would put a positive spin on
the situation? Have your students go back and rehearse
for another 10 minutes. Push them to really think about
what Madame wants from Ella, and have your students
improvise a new scene showing how Madame
can achieve those things without being so cruel towards
Ella. Perform those versions for the class.
Then have your students think of what Ella could
do. Have the students playing Madame return to the
original scene. The part that will change now is Ella’s
reaction towards Madame. Students should come up
with practical and constructive solutions for Ella to
face her bully.
Lastly, lead your class in a discussion about the
differences between the scenarios. Why does Madame
treat Ella so poorly in the musical? Is there a way for
Madame to get what she wants without having to resort
to her bullying ways? Is there a way for Ella to put
a positive twist on how Madame is treating her? In
the last two versions, what are some solutions your
students came up with that are applicable in their own
lives? Ask your students, “What can you do?”
PERSON 1: Clean up this porch and use this old
bag of rags.
(PERSON 1 kicks the bag of rags over, and a coat
falls out.)
(PERSON 2 picks up the coat.)
PERSON 2: That’s not a rag, that’s my father’s
coat!
PERSON 1: It’s a rag now.
PERSON 2: But it’s all I have to remember him by.
(PERSON 1 picks up the coat and rips it.)
PERSON 1: Clean the porch with this rag.
POST-PERFORMANCE ACTIVITY:
COMMUNITY
Fighting Bullying:
One Giant at a Time
“KINDNESS IS PRACTICED NOW IN ALL THE GREAT COURTS. RIDICULE
ISN’T DONE ANYWHERE ANYMORE. IT’S ALL KINDNESS NOW.” -ELLA
EXCERPT FROM RODGERS +
HAMMERSTEIN’S CINDERELLA:
17
Ye Xian (China)
Ye Xian is a young girl who talks to a very large, magical fish. The fish is later killed and served for supper
by her stepmother. Ye Xian is visited by an ancestor, who tells her if she buries the fish’s bones in
four pots and puts them under the four corners of her bed, they can make her wishes come true. She
attends a New Year’s celebration, where she leaves behind her magical slipper. The King of the To’Han
islets stumbles upon the slipper and vows to marry the person who has a foot small enough to fit the
slipper. He creates a pavilion and puts the slipper on display. Ye Xian tries to retrieve it but is mistaken
for a criminal and is brought before the King. She tells him of the unfortunate details of her life, and
he allows her to return home. Later, the King seeks her at her home and invites her to be his Queen.
Rhodopis (Egypt)
Rhodopis is a Greek servant at the Pharaoh’s palace, where the other servants treat her cruelly. One
day, the Pharaoh stumbles upon Rhodopis dancing by herself and commends her by demanding a
gift for her: rose-gilded slippers. While drying her slippers, a falcon steals one and carries it all the
way to the lap of the Pharaoh. The Pharaoh marvels at the slipper but does not recognize it as the
same gift he demanded for Rhodopis. The Pharaoh vows to marry whomever the slipper belongs to.
Later, he finds Rhodopis at her home and takes her as his bride.
Chinye (West Africa)
Chinye tells the tale of a young African girl with a stepmother who sends her into the dangerous forest
to retrieve water. She escapes unscathed and, upon her return, runs into an old woman who tells her to
go into a hut, take the smallest gourd and break it open. She does so; the gourd produces treasures, of
which her stepsister becomes envious. Chinye’s stepsister goes to the hut and returns home with the
biggest gourd in the hut. She breaks it open, but instead of treasure, an enormous storm emerges and
destroys everything. The family leaves the town, while Chinye uses her newfound fortune to help others.
Don’t Forget to Pack Your Glass Slipper!
As your students learn more about these different stories, encourage them to investigate the context from
which these stories have emerged. This is a great opportunity to combine your Social Studies and English
curriculums. Have your students research a country where there is a version of Cinderella. Start with basic
geography, history, culture and customs. Then ask them to focus more intently on literature and the arts
and to make note of how folklore is perceived by the people of that country. Think of a creative way for
your students to present this information. They can create an informational video, a visual board presentation
or maybe even a Website; anything to communicate their research in a fun, creative way.
GO FURTHER
Your students can write their own international versions of Cinderella based on their own heritage.
Have them do ample research about their ancestors’ countries. Then have them write their own
versions of the story contextualized by the region they researched. Consider physical environment,
daily customs and ideologies that would affect the telling of this story. Share these stories in class,
and have their peers give feedback. What events and elements made the cut? Why? How did the
stories change when put in a completely different environment?
Regardless of region or race, Cinderella is treasured for its universality. Through these exercises,
your students will have the opportunity to celebrate the uniqueness of different people and places as
well as connect in sharing one of the most well-known stories of all time.
16
Scholars say there may be as many as hundreds of different versions of Cinderella in the
world! From Egypt’s Rhodopis to China’s Ye Xian, each story tells the tale of a young lady
who was born into unfortunate circumstances, and by the end with the help of some magical
friends, comes into good fortune. Although each story includes different elements, the
theme and journey of making one’s dreams come true is universal. This section will help your
students learn more about different places through the wonderful story of Cinderella. Here is
a quick trip around the world before midnight!
POST-PERFORMANCE ACTIVITY:
SOCIAL STUDIES AND CREATIVE WRITING
Around the World
Before Midnight!
Cinderella
on Broadway
West Africa Egypt
China
“I WOULD LOVE TO LOOK AT YOUR BOOK OF HOW
OTHER COUNTRIES LIVE.” –ELLA
15
After seeing Rodgers + Hammerstein’s Cinderella,
use the following discussion prompts to
unpack the themes, characters and context of
the show. Through this conversation, students
will gain a greater appreciation for their audience
experience.
1. Prince Topher has it all. He is a brave knight,
soon to be King of the kingdom and the most
sought-after bachelor. Unfortunately, he’s
still discontent with his everyday life. What
is Prince Topher specifically struggling with?
Why? Can a person who appears as fortunate
as Prince Topher still be unhappy?
2. Prince Topher gives Ella a coin in appreciation
of her charity towards Marie, the poor
beggar woman. Identify why Prince Topher
does so. What about Ella’s kind behavior
solicits praise from Prince Topher? How is
Ella compassionate towards Marie?
3. Madame wants her daughters to marry a
man for their fortune and betterment in
society rather than for love. Is she right?
What should people consider when finding
a partner? What is most important? Was
it a different consideration for women in
Ella’s time period compared to now?
4. With his constant rallying and public
speeches about the disparity between the
rich and the poor, Jean-Michel is considered,
by most, to be a radical. What is a
radical? Why is Jean-Michel considered to
be one? What are his ideas about society?
Should things change in the kingdom?
5. Madame wants her daughter, Gabrielle, to
marry Prince Topher, but Gabrielle wants
nothing more than to be with the poor
revolutionary Jean-Michel. In observing
all three characters’ personalities, why
would Gabrielle favor Jean-Michel? What
personality traits between Gabrielle and
Jean-Michel are complementary?
6. Sebastian protects Prince Topher by not
sharing what happens outside the palace,
especially across the river where the
poorest people live. This way, Prince Topher
and the palace can live harmoniously
without any conflict. Why doesn’t Sebastian
inform Prince Topher of the kingdom’s
problems? Is it better to be blissfully ignorant
or to know the hard truth?
7. Marie begins the show as a seemingly
disturbed, poor lady, and then magically
transforms into Ella’s beautiful, deckedout
Fairy Godmother. Why does Marie use
this particular disguise as a cover? What
about the “character” she dons makes her
plans to help Ella successful?
8. When Ella confirms Gabrielle’s suspicions
that she was in fact, the mysterious
stranger at the ball, Gabrielle is relieved.
Why is that? Why is Gabrielle so understanding
of Ella? Why do Gabrielle and
Ella bond in the sharing of their secrets?
9. By the end of the story, an orphaned servant
has become a princess. What do you
think about this transformation? Examine
the events leading to this change. How
much of the change happened by the will
of an individual versus the help of others?
10. Is this a “happily ever after”? What
makes a “happily ever after”? How should
fairy tales end?
POST-PERFORMANCE ACTIVITY:
IDEAS TO DISCUSS
After the Ball
14
Do You Know Cinderella?
The two most famous literary versions of Cinderella are Aschenputtel by the Brothers Grimm
and Cendrillon by Charles Perrault. But before you read these translations, let’s see what your
students already know!
Ask your students to write down what they remember about the story of Cinderella: plot,
characters, major themes and even images. Then ask them to write out a list of things that the
stage production may contain: lights, sets, costumes, music, dancing, etc. No detail should go
unnoticed or unimagined!
Then have your students read one or both of the two famous versions of Cinderella. Lead
your class in a group conversation about the similarities and differences between what they
perceived the story to be and what they’ve just read. You can create a three-column t-chart
with the titles:
Begin by asking your students to identify similarities between these three versions. Encourage
your students to recognize elements that make each a quintessential “Cinderella story.”
Next, write down all the differences that make each story so unique. Ask them to think
about what surprised them. What are the differences between their imaginations and the two
versions? Then ask them to look to their own favorite movies, television shows or books.
Where do they see the influence of the Cinderella story?
PRE-PERFORMANCE ACTIVITY:
ENGLISH AND LITERATURE
ASCHENPUTTEL
by the Brothers Grimm
CENDRILLON
by Charles Perrault
YOUR CINDERELLA
by You
13
GO FURTHER
Read the scenes aloud! Unlike a novel, plays are written to be performed. Designate some class time to
read each script, with students cast in the varied roles. Don’t worry about creating a production. Just print
out enough scripts for everyone to follow along. This will help each playwright learn the process of writing a
script. What may work in the form of a literary fairy tale may not work in a play. Discuss the differences and
help your students shape their own Cinderella scenes. After they’ve heard their scenes out loud, encourage
them to go back and tinker with their scripts. What can they change to make the scene more clear? With a
little time and hard work, your students are on their way to becoming playwrights themselves!
MARIE: What would you dream of?
ELLA: An invitation to the ball, I guess.
(MARIE produces the invitation.)
MARIE: Right here. There’s an invitation.
ELLA: But’s it’s torn.
MARIE: Don’t wait for everything to be
perfect, just go! Now, what else would
you dream of?
ELLA: Oh a white gown, I imagine. A beautiful
white gown sewn up with pearls.
And jewels. And a tiara of diamonds.
MARIE: And on your feet?
ELLA: The most beautiful grosgrain
pumps, I’d imagine.
MARIE: No. Better. The Venetian glass
that your stepmother so loves in her
trinkets and baubles. An entire pair of
shoes made only of Venetian glass.
ELLA: Oh how silly. I’d be the envy of all.
But how would I get to the ball?
MARIE: Well this pumpkin over here?
ELLA: Yes?
MARIE: I’ll turn it into a golden carriage.
ELLA: And horses?
MARIE: Those mice? Trapped in this cage?
ELLA: And a fox as a footman and a raccoon
as a driver. Oh you are crazy, Marie.
Why in order to do that, you would have
to be a fairy godmother.
(MARIE rips off her rags and ragged cape
revealing she is a FAIRY GODMOTHER.)
EXCERPT FROM RODGERS +
HAMMERSTEIN’S CINDERELLA:
12
Adapting a story for the stage can be an exciting challenge. The author of the book of a musical has to
put a full production onto the page. Give this task to your students! While they may not be quite ready
to write out a full play or musical, guide your students in writing scenes. Students will write a scene
from the story of Cinderella. Your students can be as creative about the details as they so choose. You
can use the scene on the following page as an example.
FOR EDUCATORS
Before Your Students Begin to Write:
1. Have your students complete the following statement: “Cinderella is about ____________.” These
answers can be varied, but make sure to approve each statement. Have them write their themes at
the top of their drafts. This will be a guiding reminder for them to always bring their stories back to
their overarching goal.
2. On another sheet of paper, ask your students to identify the most important events in the scene.
Write these down in chronological order. Try to keep them to a one-sentence response.
3. Next have them write down all the characters that will appear in their scene. Only write the most
necessary ones.
4. The setting of the scene will be an ancient fairy tale land. This will help your students focus on the
scene at hand and not get bogged down by details.
With all this in mind, your student is ready to put pen to paper!
FOR STUDENTS
Tips for Writing Your Scene!
1. The number-one thing to keep in mind is that scenes in a play should have a beginning, middle and end.
2. Start at the beginning. How does the scene begin? From the start, the audience should know where they
are at and who is who.
3. Write the events out in order. Refer to the list of all the most important plot points. It will help you write
what is most essential about each event.
4. Think about what each character wants. How does each character feel about the other characters? Consider
what they like and don’t like. Answering these questions will help you draw out the characters and
their dialogue.
5. Write the end of the scene. The end should be as important as the beginning. The problem you presented
at the beginning of the scene should be addressed by the end. Is the big problem solved? What is the
outcome now?
6. Remember the statement “Cinderella is about _____________.” Whenever you’re having problems writing
out the scene, go back to this statement. If there are parts that don’t relate to your overarching purpose,
then it’s not important.
7. Have fun! When writing a scene, you get to use your imagination and pretend to be the actual characters
in the scene. Try to really think and feel like these characters in your play!
PRE-PERFORMANCE ACTIVITY:
CREATIVE WRITING
Write Your Own Fairy Tale Scene
11
In preparation for the upcoming performance, encourage your students to log on
to www.CinderellaOnBroadway.com and explore all the Website has to offer. You’ll
find photos, bios of the creative team, multimedia about the show and more! It is
a great resource to get your students ready and excited for all the magic!
Folktales come from a long
tradition of oral storytelling
and are instructive, sharing
a moral by the story’s end.
Fairy tales come from both
an oral and written tradition
and are distinguished by
their magical characters and
elements such as dragons,
witches and spells.
10
The theater may not be the Prince’s Palace, but it is just as important to remember some royal
manners for your upcoming performance of Rodger’s + Hammerstein’s Cinderella.
• Be sure to use the restroom before the show! You don’t want to miss any of the magic.
• Turn your cell phones off.
• Keep your feet off the back of the seats.
• Photography is always prohibited!
• It is standard etiquette to applaud at the end of the show. Not only are you applauding for
the performers, but also the hard work that everyone has put in behind the scenes!
• Above all, the theater is truly a special place. Unlike movies or TV shows, what you see
onstage is happening right before your eyes. The performers are giving their all, so it’s
important that you give them your all.
Give your students a glimpse of Rodgers + Hammerstein’s Cinderella on
Broadway! After exploring the image above, have your students brainstorm
what magic they expect to see at the theater.
THEATER ETIQUETTE
A Brief Word
About Royal Manners
9
CHARLES PERRAULT
French writer Charles Perrault laid important groundwork
for the form and was also one of the first writers to pen a
story of Cinderella. Perrault had spent most of his time advocating
modern work and serving for the Academie francaise.
At the age of 67, he lost his post and devoted the rest
of his life to his children. In 1697, he published Histoires ou
Contes du Temps passé (Tales and Stories of the Past with
Morals), subtitled Les Contes de ma Mère l’Oye (Tales of
Mother Goose), a collection of ancient tales and one of the
most important pieces of literature of all time. The collection
contained such legendary tales as The Master Cat;
or, Puss in Boots, The Sleeping Beauty in the Wood, Little
Red Riding Hood and one of the most famous versions of
Cinderella, entitled Cendrillon; or, The Little Glass Slipper.
Although these weren’t new stories, Perrault helped to preserve them in the literary tradition
for generations to come.
THE BROTHERS GRIMM
No other literary figures had a greater impact on
the genre of fairy tales than Germany’s Jacob and
Wilhelm Grimm, famously known as the Brothers
Grimm. While attending the University of Marburg,
the brothers were instructed by Friedrich von
Savigny, who sparked their interest in medieval
German literature and other folklore. Meanwhile,
the German Romantic movement was on the rise,
seeking to bring literature back to nature. National
pride rose with a special interest in folklore.
Influenced by both Charles Perrault and Johann
Karl August Musäus, a fellow German who
had written a collection of folktales between 1782
and 1787, the brothers began to collect German
songs and tales. They gathered most of their stories from peasants but also from middle-
class and aristocratic acquaintances. In 1812, they published Kinder-und Hausmärchen
(Children’s and Household Tales), their first collection of stories. Some of their most famous
tales include Rapunzel, Hansel and Gretel, Snow White and the Seven Dwarfs, and
Aschenputtel (Cinderella). Between 1816 and 1818, they published Deutsche Sagen (German
Legends) and Altdeutsche Wälder (Old German Forests). From 1812 to 1857, the brothers
continued to publish and rework their collection of fairy tales.
Today, fairy tales from the Brothers Grimm can be found in over 100 different languages
and continue to be the source material for books, movies, television, theater, etc. Their ability
to convey universal themes through a child’s imagination has helped to bring their stories
to audiences of all ages. While they did not live to see their stories retold in thousands
of different versions, their legacy is invaluable.
8
ONCE UPON A TIME...
An Enchanting History of Fairy Tales
For centuries, fairy tales have been feeding our imaginations and hearts. But
what makes a fairy tale a fairy tale? And why are they passed from generation
to generation? A fairy tale is a short story with folkloric characters and
comes from a long tradition of oral and written storytelling. Madame d’Aulnoy,
a 17th century French writer, was the first to use the term “fairy tales.” Her books
Les Contes des Fées (Tales of Fairies - 1697) and Contes Nouveaux, ou Les Fées à la
Mode (New Tales or Fairies in Fashion - 1698) tell tales of kings and queens, animals,
dwarves and, sometimes, fairies. These stories existed long before Madame d’Aulnoy,
but through her work, a literary genre was born.
A FAIRY TALE IS A SHORT STORY WITH FOLKLORIC
CHARACTERS AND COMES FROM A LONG TRADITION
OF ORAL AND WRITTEN STORYTELLING.
7
Today, their imprint on American theater and
culture is undeniable. Time magazine and CBS
News named Rodgers and Hammerstein one of
the top 20 most influential artists of the 20th
century. They also received The Hundred Year Association
of New York’s Gold Medal Award “in recognition
of outstanding contributions to the City
of New York” in 1950. The 46th Street Theatre
was named The Richard Rodgers Theatre in March
of 1990. That same year, they were commemorated
with a United States Postal Service stamp.
With many awards in hand and a body of work
that continues to be produced for its relevance
and artistic mastery, Rodgers and Hammerstein’s
work lives on as one of the most beloved canons
in American musical theater.
SPOTLIGHT ON…
DOUGLAS CARTER BEANE
New Book Writer
Two shows on Broadway in 2013 — a new book for Rodgers + Hammerstein’s Cinderella and a new play
(The Nance) starring Nathan Lane and directed by Jack O’Brien MUSICALS: Lysistrata Jones (Tony
Nom, Best Book), Sister Act (Tony Nom, Best Book) and Xanadu (Tony Nom, Best Book, Drama Desk
Best Book, Outer Critics Circle Best Musical) PLAYS: The Little Dog Laughed (Tony Nom, Olivier Nom,
GLAAD Media Best Play), As Bees In Honey Drown (Outer Critics Circle), Mr. & Mrs. Fitch (starring John
Lithgow and Jennifer Ehle), Music From A Sparkling Planet, The Country Club, Advice From A Caterpillar,
The Cartells REVUES: White Lies, Mondo Drama SCREENPLAYS: To Wong Foo, Thanks For Everything,
Julie Newmar, Advice From A Caterpillar ARTISTIC DIRECTOR: Drama Dept 1994-2006, 2 Lortels, 2
Obies HONORS: Lortel Playwrights Sidewalk, Ovation Visionary Playwright Award LIFE: Partner Lewis
Flinn, son Cooper, daughter Gaby.
Courtesy of Rodgers & Hammerstein:
An Imagem Company, www.rnh.com.
Photo: Michael Childers
6
Richard Rodgers and Oscar Hammerstein II,
authors of Rodgers + Hammerstein’s Cinderella
on Broadway, hold one of the most
successful legacies in American musical
theater history. Together, they created 11 musicals and
received 35 Tony Awards™, 15 Academy Awards™,
two Pulitzer Prizes™, two Grammy Awards™ and
two Emmy Awards™. Many describe Rodgers and
Hammerstein’s body of work in the 1940s and 1950s
as the “golden age” of musical theater.
Richard Rodgers first saw success with his partner
Lorenz Hart with over 40 shows and film scores,
while Oscar Hammerstein II had worked successfully
on several operettas. In 1943, Rodgers and Hammerstein
created Oklahoma!, and as they say, the rest
is history. Thereafter, they collaborated on Carousel
(1945), Allegro (1947), South Pacific (1949), The
King and I (1951), Me and Juliet (1953), Pipe Dream
(1955), Flower Drum Song (1958) and The Sound of
Music (1959). Together they wrote State Fair (1943)
as a movie, which also arrived on Broadway in 1996,
and, of course, Rodgers + Hammerstein’s Cinderella
(1957) as a made-for-television movie.
Rodgers and Hammerstein were top-notch at
integrating dialogue and music to tell vivid stories.
These stories were capable of not only entertaining
with great humor and whimsy, but also challenging
notions of racism, classism and sexism. This impressive
combination of form and content would inspire
generations of musical theater writers to come.
BEHIND THE WAND:
Rodgers + Hammerstein
Courtesy of Rodgers & Hammerstein: An Imagem Company, www.rnh.com
5
Although Rodgers + Hammerstein’s Cinderella is
premiering on Broadway for the very first time,
this Rodgers and Hammerstein musical has
found success on the small screen and in productions
around the world for the last 50 years.
Rodgers + Hammerstein’s Cinderella is the only
musical of Rodgers and Hammerstein’s that was written
for television. It was largely based on Charles Perrault’s
version of the tale, entitled Cendrillon. Rodgers
and Hammerstein wrote Rodgers + Hammerstein’s
Cinderella for CBS, starring Julie Andrews in the title
role. With Ralph Nelson as director, it premiered on
CBS on March 31, 1957, and was seen by over 100 million
people, or about 60% of the US population at
the time.
Staged versions of the musical began with a
premiere at the London Coliseum by Harold Fielding
on December 18, 1958. Other versions of Rodgers +
Hammerstein’s Cinderella continued to play in US theaters
after 1961. CBS decided to take a stab at another
television version, with Richard Rodgers as executive
producer. Rodgers wanted to stay truer to Perrault’s
classic, but for the most part, the music and story
were retained from the original. It premiered on February
22, 1965. The New York City Opera produced the
musical in 1993, 1995 and 2004 with such renowned
performers as Eartha Kitt and Dick Van Patten. One of
the most famous tours of Rodgers + Hammerstein’s
Cinderella occurred in the US in 2000-2001.
In 1997, Walt Disney Productions released a remake
of Rodgers + Hammerstein’s Cinderella starring
Brandy as Cinderella. It premiered on November
2, 1997 and had great success, with about 60 million
viewers tuning in. The Disney production was
applauded for its diversity in casting; the royal family
was comprised of an African-American mother, a
Caucasian father and an Asian-American Prince. This
innovative choice showed the universality of the story,
continuing to make it accessible to more audiences.
Now, Rodgers + Hammerstein’s Cinderella makes
its way to the Broadway stage with new twists and
turns by writer Douglas Carter Beane, direction by
Mark Brokaw, choreography by Josh Rhodes and starring
Laura Osnes and Santino Fontana.
FROM PAGE TO STAGE:
A History of the Show
ORIGINAL TELEVISION MUSICAL airs on
CBS starring Julie Andrews as Cinderella
• Seen by over 100 million viewers (about
60% of the US population at that time
• Filmed at CBS Color Studio 72, the first
color studio in New York
• Nominated for 2 Emmy® Awards
Stage Premiere
at the London
Coliseum
FIRST TELEVISION REMAKE
airs on CBS, introducing Lesley Ann
Warren as Cinderella with Richard
Rodgers as Executive producer
• This version was seen by over
22 million households
The stage version of RODGERS +
HAMMERSTEIN’S CINDERELLA
debuts on Broadway for the first
time ever, featuring a new book
by Douglas Carter Beane and
direction by Mark Brokaw
March 31,
1957
December 18,
1958
February 22,
1965
1993, 1995
& 2004
November 2,
1997
March 3,
2013
New York City Opera
Staged Versions
SECOND TELEVISION REMAKE
airs on ABC starring Brandy as
Cinderella and Whitney Houston
as the Fairy Godmother
4
witnesses all the frantic excitement while
mumbling something nonsensical to herself
(Folderol). As the Stepsisters get ready for
the ball, the Lord Chancellor SEBASTIAN visits
Madame’s house and discusses plans for
Gabrielle and Prince Topher to marry. Jean-
Michel visits afterwards, this time with flowers
for Gabrielle, but Madame throws him out.
After Madame and the Stepsisters leave,
Marie magically reveals herself as Ella’s Fairy
Godmother and sets a plan in motion for Ella
to go to the ball. With beautiful glass slippers,
animals magically transformed into royal attendants,
and a carriage made out of a pumpkin,
anything is possible (Impossible / It’s Possible)!
Ella arrives just in time, completely transformed
and unidentifiable. “Ridicule” is played
at the ball, a royal game where people trade
insults and complaints. She plays against Madame,
but instead of swapping insults, she
compliments Madame. The court is surprised
and confused by this concept of kindness, and
the palace fills with warmth and joy.
Prince Topher becomes smitten with this
beautiful stranger (Ten Minutes Ago). Just as
they are going to share a kiss, the clock strikes
twelve, and Ella tells Prince Topher that his
people are suffering and that he must do
something. Ella hurriedly leaves but drops one
of her glass slippers.
ACT TWO
While Prince Topher and his royal guards search
for Ella (The Pursuit), Charlotte is left at the
palace (The Stepsister’s Lament). Eventually,
Madame and her daughters return home, and
as they rehash the evening, Ella describes how
she would imagine the evening (When You’re
Driving Through the Moonlight). Charlotte,
Gabrielle and Madame join in, dreaming about
a true love (Lovely Night). After Madame and
Charlotte head to bed, Gabrielle and Ella bond
over their secrets: Ella was the girl at the ball,
and Gabrielle is in love with Jean-Michel.
At the castle, Prince Topher is sullen
(Loneliness of Evening) and demands a banquet
be held to find Ella. News spreads, and
as the women head back at Madame’s cottage
to quickly prepare, Gabrielle pretends to
be sick so she can help Jean-Michel at a soup
kitchen. She also offers her dress to Ella for
the banquet. Madame and Charlotte race off
to the banquet, while Jean-Michel arrives to
pick Gabrielle up. They are unexpectedly interrupted
by Madame returning home. She
banishes Gabrielle from the house and rips up
Ella’s borrowed dress.
Marie visits Ella and encourages her to
truly believe in herself (There’s Music in You).
Marie transforms Ella’s torn-up dress, once
again, into a beautiful gown and sends her off
to the banquet. There, Ella finds Prince Topher
and shares with him that the poor are heading
to the palace soon. Quickly after the poor
arrive, Prince Topher finds himself inspired by
their concerns and decides that there will be
an election to elect the first Prime Minister of
the kingdom. With all this excitement, Prince
Topher and Ella question their newfound love
(Do I Love You Because You’re Beautiful?), but
the clock strikes twelve, and Ella must run again.
A day later, Lord Pinkleton announces
that the election and search for Ella are in
full swing. Ella appears in her normal, ragged
clothes, and Prince Topher permits her to try
on the slipper. He is ecstatic when it fits and
proposes to Ella. And of course, everyone lives
happily ever after!
3
ACT ONE
Once upon a time in a faraway forest, a young
woman named ELLA does chores for MADAME,
her stepmother, while wishing the world would
be as beautiful as it appears (The Hills Are
Every Shade of Yellow).
In another part of the land, PRINCE
TOPHER is having a hard time finding his
purpose in life, even though he is to become
king soon (Me, Who Am I?). After defeating a
giant in battle, Prince Topher stumbles upon
Ella in front of her home. He commends Ella
after he witnesses her kindness towards a
homeless woman named MARIE. Prince Topher
and his advisor SEBASTIAN head back to the
palace, just as political radical JEAN-MICHEL
arrives, sharing his ideas about the problems
between the rich and the poor.
Madame and her daughters, GABRIELLE
and CHARLOTTE, return from shopping.
Jean-Michel offers a book to Gabrielle, whom
he loves, but Madame quickly rejects it. Jean-
Michel instead offers Ella the book, and
through the pages, Ella dreams of life beyond
her rags (In My Own Little Corner).
Miles away at the palace, a ball is held
to find Prince Topher a wife (An Announcement).
While the upper crust of society are
excited about the ball (The Prince is Giving a
Ball), Jean-Michel rallies the poor to do something
(Now Is the Time). Meanwhile, Marie
PLOT SYNOPSIS
2
ELLA (CINDERELLA) is a young lady with
the kindest heart in the kingdom. She dreams
of escaping her endless chores so she might one
day see the world.
MADAME is Ella’s stepmother, a vain and tyrannical
woman only concerned with her wealth
and her daughters’ happiness. Madame does not
consider Ella, her stepdaughter, a true daughter.
PRINCE TOPHER is the Prince of the entire
kingdom, but he needs a bit of inspiration to
realize his full potential.
SEBASTIAN is Topher’s Lord Chancellor.
Although Sebastian wants to protect the Prince,
he does so by shielding the Prince completely
from what is going on in the kingdom.
LORD PINKLETON is Sebastian’s secondin-
command and the herald for all important
events or information.
MARIE enters the story as a senile poor
woman, but she magically transforms into her
true form as Ella’s wise and compassionate Fairy
Godmother.
JEAN-MICHEL is a poor revolutionary with
many ideas about how to improve society. Jean-
Michel is in love with Gabrielle.
GABRIELLE begins the story as just another
selfish stepsister but finds camaraderie in Ella
when she reveals to Ella that she would give up
her riches to be with Jean-Michel.
CHARLOTTE is one of Ella’s stepsisters
who treats Ella cruelly but, quite honestly,
doesn’t know much better because she is so
self-involved. Charlotte’s a bit of a clown and
definitely the last one in on the joke.
CHARACTER DESCRIPTIONS
1
TABLE OF CONTENTS
Character Descriptions .............................. 2
Plot Synopsis .............................................. 3
From Page to Stage:
A History of the Show .............................. 5
Behind the Wand:
Rodgers + Hammerstein ..........................6
Spotlight on…Douglas Carter Beane ..... 7
Once Upon a Time…
An Enchanting History
of Fairy Tales ...............................................8
A Brief Word About Royal Manners
Theater Etiquette .......................................... 10
Pre-Performance Activites .....................12
Write Your Own Fairy Tale Scene
(Creative Writing) ...........................................12
Do You Know Cinderella?
(English and Literature) .................................. 14
Post-Performance Activities ..................15
Ideas to Discuss: After the Ball ........................15
Around the World Before Midnight!
(Social Studies and Creative Writing) ............... 16
Fighting Bullying: One Giant at a Time
(Community) ................................................ 18
“Ridicule” (Building Self-Confidence) .............. 19
Am I Perfect for the Ball?
(Self-Image and Body Awareness) ...................20
Who’s Behind the Mask?
(Exploring Facets of Character) .........................21
Is That Really You?
(Performance and Social Studies) .....................21
Don’t Judge a Book By Its Cover (Visual Arts) ... 22
Cast Your Ballot! (Social Sciences) .................. 23
Dreams Do Come True! (Goal Building) ............24
A Magical Dreamboard
(Goal Building) ..............................................24
Welcome to the enchanting
world of Rodgers + Hammerstein’s
Cinderella, a beloved tale retold
around the world. Everyone knows
a version of the story, but now
Rodgers + Hammerstein’s Cinderella
is waltzing onto Broadway with a
makeover by book writer Douglas
Carter Beane (Sister Act, Xanadu)
with the same classic elements
and some surprising new twists!
Recommended for the whole family,
Rodgers + Hammerstein’s Cinderella
is a timeless tale where dreams
really do come true.
The actors are at places, the
orchestra is tuning, and the curtain
is just about to rise! Before the
musical begins and even after the
final bows, this guide will provide
great ideas on how to keep the magic
alive for both the theater and the
classroom. Jam-packed inside are
character descriptions, a synopsis
of the show, information about the
origins of the musical, and a brief
history of fairy tales. Also included
are recommended pre-show and
post-show discussion prompts and
activities that will help your students
explore the major themes and
elements of the production.
The experience of the theater
extends beyond the pages of the
script or even the theater’s exits.
With this guide, students can
carry the magic of Rodgers +
Hammerstein’s Cinderella and the
arts into the classroom!
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News > Reviews
The Romance. The Magic. The Shoes
Critics
Audience
"A BIG SUMPTUOUS MUSICAL that will bring back a tad of what Broadway has forgotten about. Head back to your childhood and go see this GLORIOUS CINDERELLA. Everything about this show is fabulous. I loved it, you will love it, and the kids will love it!"
̶̶ WOR Radio
“The score remains nothing less than HEART-STOPPING. It delivers a wallop of a kind unique to Richard Rodgers’s indelible melodies. From ‘In My Own Little Corner’ to the jaunty and exciting ‘Impossible’ to the gorgeous love ballad ‘Ten Minutes Ago’ and the hilarious ‘Stepsister’s Lament’, the songs are all as GLORIOUS as you remember them.”
̶̶ The Weekly Standard
"The ultimate and most enduring of makeover shows is back in town, and this CINDERELLA is no passive damsel waiting for a rescuing knight. She takes charge of her destiny."
̶̶ The New York Times
"EYE-POPPINGLY OPULENT enough to wow any six-year-old at heart!"
-- The New Yorker
"RESPLENDENT with A RADIANT SCORE!"
-- The Wall Street Journal
"This wised-up, wit-spackled CINDERELLA is as solidly entertaining as they come, featuring ONE OF BROADWAY'S FINEST ENSEMBLES and what might be its couple of the year. Cinderella and her Prince have been reborn!"
̶ New York Magazine
"THRILLING! Never underestimate the power of a ball gown and glass slippers!"
̶ Entertainment Weekly
"A charming, witty and relevant take on the classic story, with TOP-NOTCH SINGING, SUMPTUOUS SONGS and a FIRST-RATE CAST!"
̶ Associated Press
“A delightful Broadway extravaganza CHOCK-FULL OF VISUAL SPECTACLE, elaborate dance numbers, eye-catching scenery, dazzling costumes and A MARVELOUS RODGERS & HAMMERSTEIN SCORE."
̶ The Record
"CINDERELLA sparkles! This CLEVER and WITTY production should WOW fairytale fans."
̶ Variety
"Love blossoms not just between the lead characters, but also between the audience and the actors."
-- The New York Observer
"LAVISH FAMILY ENTERTAINMENT! Hop the pumpkin carriage and enjoy the ride!"
̶ Time Out New York
“CINDERELLA casts a MAGICAL spell on kids and adults alike. Everyone's having a ball!”
̶ NY1
“AN ABSOLUTE JOY!”
̶ Financial Times
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The Romance. The Magic. The Shoes
Critics
Audience
audiences have fallen for cinderella
Send a shout-out to the entire kingdom and your review could be featured on our site.
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"What a great afternoon! I just saw Rodgers and Hammerstein's Cinderella on Broadway! Such a beautiful classic...and SO much talent on stage!"
̶̶ Carrie Underwood (carrieunderwood) on Twitter
"Can’t say enough about Cinderella. It's the new Wicked. @LauraOsnes is perfect. The whole cast is! It was spectacular."
̶̶ Neil Patrick Harris (@ActuallyNPH) on Twitter
"Guys!!!! @CinderellaBway is SPECTACULAR!!!!!"
̶̶ Megan Hilty (@meganhilty) on Twitter
"Cinderella is a wonderful show for the entire family. Laura Osnes and Victoria Clark were terrific and seemed so energized and enthusiastic about their performances that you may have believed it was opening night. The orchestrations were full and lush. Richard Rodgers' music is the best on Broadway this season."
̶̶ dc101ga on TripAdvisor
"The lead was terrific and the plot unmatched. This could be my new favorite show. I cried AT LEAST TWICE. Good cry... great laughs and the little kid loved it. HIGHLY recommend. You will be surprised."
̶̶ legaljacket on TripAdvisor
"@CinderellaBway was SUPERB! Brings back memories when I was Cinderella in San Jose. I hope to find my Prince someday."
̶̶ Anna Perez De Tagle (@AnnaMariaPDT) on Twitter
"This would be a great show for a "1st Broadway Show experience"...beautiful Tony award winning costumes, wonderful R & H songs, classic ballroom dancing, a mean villain, a handsome Prince, some comic relief (step-sisters and Fox & Raccoon), a lovely heroine, and of course what everyone wishes for -- A Fairy Godmother to insure a happy ending for all."
̶̶ J N on TripAdvisor
"Fantastic production, enchanting performances, sweeping orchestration, beautiful costumes, simple yet evocative sets, highly recommend this show."
̶̶ Lisa B on Yelp
"The songs they add tie in seamlessly to the rest, and the plot changes they made are truly empowering to not only Cinderella, but everyone. I enjoyed the changes, especially the acrobatic raccoon and fox! They were amazing! And all the costume changes were done on stage - I was left speechless!"
̶̶ Bea Z. on Yelp
"What a magical show. thank you so much @CinderellaBway lovely to meet you!" @LauraOsnes #itspossible
̶̶ Stefanie Scott (StefanieScott) on Twitter
"Whether it's the costumes, book, or music, Cinderella has been revamped and it's better than ever. With a new book by Douglas Carter Beane, Cinderella has a whole new twist, while still working within the core story. All together, Cinderella was, undoubtably, A Lovely Night! :) (P.S. I've seen it 3 times now and I just keep wishing to go back. That's how amazing it is.)"
̶̶ Zoe B on TripAdvisor
"Everything about this musical was perfect. The sets were phenomenal and the costumes were magical. I was in awe throughout the entire performance. And every actor and dancer on stage was fantastic. The ensemble was terrific, and Laura Osnes is simply gorgeous and perfect. This is definitely a show for anyone to see, and I hope I can see it again soon."
̶̶ Devin S. on TripAdvisor
"@CinderellaBway I loved everything! The magical costume changes, the singing, the actors, the songs! Everything was amazing!"
̶̶ Diana Ordonez (@DianaNatali401) on Twitter
"R&H's Cinderella is an absolutely stunning show.....the Tony award winning costumes are gorgeous....especially Cinderella's magical dresses that are part of her magical transformations!! I have seen this show 4 times and hope to go back and see it again soon!!! It is truly a magical night of theater."
̶̶ Alanaharbin on TripAdvisor
"@CinderellaBway was so wonderful and I am like on cloud 9 best mood ever and a dream come true"
̶̶ Jaime Bell (@Jaimbell) on Twitter
"I loved every minute of it! The new story really brought the characters to life. The best part was of course the costume changes - done impeccably and still mind-boggling as I have no idea at all how she changed so quickly!! The sets were also magical and brought the entire musical together. I would definitely go again."
̶̶ Nicole H on Yelp
"It was my first show and I couldn't have been happier. It was fun and romantic. It wasn't your typical Cinderella but that's why I loved it!! AMAZING!"
̶̶ Trudy1991 on TripAdvisor
"Beautiful! Everything down to the acting, costumes and story line. Cinderella has got to be my favorite among favorite fairy tale and I decided to see this one with my girlfriend. The whole story is so heartwarming and it gives me the same feeling as I did when I watched fairy tales growing up. This is a MUST SEE show."
̶̶ Eddie M on Yelp
"I am so glad we chose Cinderella! This play was a spectacle beyond my wildest dreams. The cast's energy and talent was complemented by a wonderful script and some of the most amazing special effects I have ever seen on stage! Go see this musical! You will not be disappointed!"
̶̶ Jayhawkinva on TripAdvisor
"Date nite w my girls @CinderellaBway bc @LauraOsnes #VictoriaClark r otherworldly &u believe #itspossible #changetheworld #fight4dreams"
̶̶ Rachel Roy (@Rachel_Roy) on Twitter
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The World's Most Treasured Fairytale COmes to Broadway for the First Time!
The Show
Rodgers + Hammerstein's CINDERELLA is the Tony Award®-winning Broadway musical from the creators of South Pacific and The Sound of Music that's delighting audiences with its surprisingly contemporary take on the classic tale. This lush production features an incredible orchestra, jaw-dropping transformations and all the moments you love—the pumpkin, the glass slipper, the masked ball and more—plus some surprising new twists! Be transported back to your childhood as you rediscover some of Rodgers + Hammerstein's most beloved songs, including "In My Own Little Corner," "Impossible/It's Possible" and "Ten Minutes Ago" in this hilarious and romantic Broadway experience for anyone who's ever had a dream.
Want to learn even more about CINDERELLA? Our education guide is an excellent resource for teachers,
students and fans. CLICK HERE
March 31, 1957Original Television Musical airs on CBS starring Julie Andrews as Cinderella•Seen by over 100 million viewers
•Nominated for 2 Emmy® Awards: Best Actress – Julie Andrews, Best Musical Contribution for Television – Richard Rodgers
February 22, 1965First Television Remake airs on CBS introducing Lesley Ann Warren as Cinderella•Seen by over 22 million viewers
November 2, 1997Second Television Remake airs on ABC starring Brandy as Cinderella, Whitney Houston as the Fairy Godmother, Bernadette Peters as the Stepmother, Whoopi Goldberg as the Queen and Jason Alexander as Lionel•Seen by over 60 million viewers
•Emmy Award winner for Outstanding Art Direction for a Variety or Music Program
January 25, 2013The stage version of Rodgers + Hammerstein's CINDERELLA debuts on Broadway for the first time ever, featuring a new book by Douglas Carter Beane and direction by Mark Brokaw.
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The Finest Cast in All the Kingdom
Cast
Creative
Cast
Laura Osnes
CINDERELLA
Laura was nominated for the Tony Award for her performance in Frank Wildhorn’s Bonnie & Clyde (Bonnie Parker, San Diego Theatre Critics Circle Award). She also starred as Nellie Forbush in South Pacific and appeared in the recent revival of Anything Goes. She made her Broadway debut as Sandy in Grease, having won NBC’s reality competition “Grease: You’re the One That I Want.” In addition to portraying Rodgers + Hammerstein's Nellie Forbush and Cinderella, she recently appeared in their musical Pipe Dream at New York City Center ENCORES! and starred in The Sound of Music in concert at Carnegie Hall.
Santino Fontana
The Prince
Santino's Broadway credits include The Importance of Being Earnest, Brighton Beach Memoirs, for which he received a 2010 Drama Desk Award, Billy Elliot: The Musical and the 2007 revival of Sunday in the Park with George. Off Broadway credits include Roundabout's acclaimed production of Sons of the Prophet for which he received the 2012 Obie Award, and Matt in the 2006 Off Broadway revival of The Fantasticks.
Rebecca Luker
Marie, The Fairy Godmother
Rebecca's Broadway roles inlude Mary Poppins, Nine, The Music Man, The Sound Of Music, Showboat, The Secret Garden and The Phantom Of The Opera. She has been nominated for three Tony Awards. Off-Broadway roles include Death Takes A Holiday, Where’s Charley?, The Boys From Syracuse, Indian Blood, and The Vagina Monologues. Her over 50 recordings include the solo CDs I Got Love, Greenwich Time, Leaving Home and Anything Goes/Rebecca Luker sings Cole Porter. Born in Birmingham, Alabama, Ms. Luker received an honorary Doctorate of Fine Arts Degree from her alma mater, the University of Montevallo.
Harriet Harris
Madame, Cinderella's Stepmother
Harriet won the 2002 Tony and Drama Desk Award for Featured Actress in a Musical for her performance in Thoroughly Modern Millie. Her other Broadway credits include Present Laughter, Cry-Baby, Old Acquaintance and The Man Who Came to Dinner.
Ann Harada
Charlotte
Ann originated the role of Christmas Eve in Avenue Q on Broadway and also appeared in the original London cast of the musical. Her other Broadway appearances include 9 to 5, as Madame Thenardier in the revival of Les Misérables and M Butterfly. She has appeared as a regular on the hit TV series "Smash."
Marla Mindelle
Gabrielle
Marla was recently on Broadway as Sister Mary Roberts in Sister Act. She has also appeared on Broadway in South Pacific and on the first national tour of The Drowsy Chaperone. Other credits: The 25th Annual Putnam County Spelling Bee (Paper Mill, Philadelphia Theatre Company), The Wild Party, and Songs for a New World (Princeton Opera).
Peter Bartlett
Sebastian
Broadway: A Free Man of Color, The Drowsy Chaperone, The Frogs, Beauty and the Beast, Never Gonna Dance, Boom Boom Room. Off-Broadway: The Most Fabulous Story Ever Told (Drama Desk nom.), The Illusion, The New Century. Regional: La Jolla, Williamstown, Guthrie, ATL, Theatrein-the-Square (Jeffrey, Drama-Logue and Bay Area Critics Circle Awards). Film: The Princess and the Frog, Meet the Parents, The Producers, Jeffrey. TV: “The Big C,” “Law & Order,” “One Life to Live” (20 years as Nigel).
Greg Hildreth
Jean-Michel
Broadway: Peter and the Starcatcher, Bloody Bloody Andrew Jackson. Off-Broadway: Peter and the Starcatcher (New York Theatre Workshop), Bloody Bloody Andrew Jackson (The Public Theatre). NY Theatre: Hell House, Dance Dance Revolution (Les Freres Corbusier). Regional: La Jolla Playhouse, Center Theatre Group, Williamstown Theatre Festival, Weston Playhouse. Film/Television: Wall Street: Money Never Sleeps, "The Good Wife," "Royal Pains," "Kings." Training: BFA in Acting from Boston University and LAMDA.
Phumzile Sojola
Lord Pinkleton; u/s Sebastian
Phumzile, a South African Native, made his Broadway debut last season in The Gershwin's Porgy & Bess. Off-Broadway/Tour: Three Mo' Tenors. NYCO: L'Etoile. Regional: La Boheme, Lost In The Stars. Recordings: Treemonisha. Love to my Zan Zan.
Jill Abramovitz
ENSEMBLE
Broadway: 9 to 5; Martin Short: Fame Becomes Me. Also: Papermill, Goodspeed, Kennedy Center, Barrington Stage, Westchester Broadway (Fanny - Funny Girl), White Plains PAC (Hedy - How to Succeed…), The Lortel (Junie B. Jones), and The Lamb’s (Cam Jansen). TV: “Ugly Betty,” “30 Rock,” “Z Rock,” “SNL.” Lyricist/bookwriter: The Dogs of Pripyat, Martha Speaks (TheatreworksUSA). Jillabramovitz.com
Kristine Bendul
ENSEMBLE
Kristine Bendul, most recently seen on NBC’s “Smash,” has Broadway credits that include Come Fly Away, Movin’ Out, Man of La Mancha, Swing, On the Town, and The King & I. She was nominated for a Helen Hayes award in 2005 for Outstanding Supporting Performer for her role in the 1st National Tour of Movin’ Out, performed in Lincoln Center’sCamelot, and appeared in four New York City Center Encore productions: On the Town, No Strings, Golden Boy, andOne Touch of Venus.
Heidi Giberson
ENSEMBLE
Broadway Debut! Off-Broadway: The Fantasticks (Luisa u/s). Tours: Cats (Sillabub), Fiddler on the Roof (Grandma Tzeitel), The Sound of Music (Liesl u/s). Regional: High School Musical (Gabriella), 42nd Street (Peggy Sawyer), The Sound of Music (Liesl). Thanks to Mom, Dad, Laura, and her wonderful husband Kyle!
Stephanie Gibson
ENSEMBLE
Broadway: Addams Family (u/s Morticia), Spamalot (u/s Lady of the Lake). Tours: A Chorus Line (Judy) Happy Days(Lori Beth). Other: Anyone Can Whistle (Encores), Fingers and Toes (NYMTF), Robin and the Seven Hoods (Old Globe). TV: “All My Children,” “As the World Turns,” “Guiding Light,” “Up All Night.” Love to my family!
Shonica Gooden
ENSEMBLE
Shonica is a proud native of Atlanta, GA. Broadway and National Tour: Bring It On: The Musical. Graduate of Point Park University (BFA Dance), she has performed works by choreographers such as Martha Graham, David Parsons, Bill T. Jones, Robert Battle, and Daniel Ezralow.
Kendal Hartse
ENSEMBLE
Broadway: On a Clear Day... National Tour: CATS. Favorite regional credits include Cabaret (Sally Bowles), Hedwig and the Angry Inch (Yitzhak), Crazy for You, (Polly), and Floyd Collins (Nellie). BFA Boston Conservatory. Thanks to my amazing family, friends, Barry, Dulcina, and Julia. Love to Austin. For Grammie and Grandpop.
Robert Hartwell
ENSEMBLE
Proud magna cum laude University of Michigan graduate. Broadway: Memphis (Wailin' Joe, u/s Delray, Bobby, Gator),Nice Work If You Can Get It (Astaire Award nominee). Tours: Dreamgirls (Apollo). Regional: Muny, Sacramento Music Circus, Music Theatre of Wichita. Training: NC School of the Arts, Hungarian National Ballet. Philippians 1:6. As Always, for Nana.
Dan Horn
ENSEMBLE
Dan is unbelievably ecstatic and honored to be making his Broadway debut in Cinderella! Recent graduate from the University of Oklahoma. Regional – Spamalot (Dance Captain/Swing), Mary Poppins (Bert u/s) at Music Theatre of Wichita. Thanks his amazing family and friends for all of their unending love and support!
Laura Irion
ENSEMBLE
Laura is beyond thrilled to be making her Broadway debut with such a magical team! First Nat'l Tour: West Side Story(u/s Anybodys). Regional: Muny, NSMT. University of Michigan graduate. Many thanks and love to CINDERELLAcast/creative, the Price Group, family, friends, and as always, Dad, Mom and Angie.
Andy Jones
ENSEMBLE
Broadway debut! International tour: West Side Story (Riff). Regional: The Muny, NSMT, Maltz Jupiter. Proud University of Michigan graduate. Endless thanks to the creative team, Cindy Tolan and Adam Caldwell, MT11, and Audrey. For my two moms who got me here.
Brandon Leffler
ENSEMBLE
Broadway: Wicked. National Tours: A Chorus Line 1st National (Larry) Wicked 1st National, Cats (Tumblebrutus). Regional/Concert: Encores!, Paper Mill, North Shore, AZ Theatre Co, Ballet Austin, Met Opera Ballet, and dre.dance. TV: "Gossip Girl," "30 Rock," and "SNL." Big thanks to Josh, Lee and CGFTalent. Love to Kev.
Andy Mills
ENSEMBLE
Andy is incredibly grateful to be a part of CINDERELLA! He was previously on Broadway in Memphis, and also performed on the First National Tour of A Chorus Line, regionally in Grease, Swing, West Side Story, and The Daisy Bradford 3, and on the North American Tour of CATS. He sends endless love to his amazing family, and special thanks to Josh Rhodes and Lee Wilkins. It's possible!
Linda Mugleston
ENSEMBLE
Broadway: Anything Goes, Young Frankenstein, Wonderful Town, Nine, Into the Woods, Kiss Me, Kate, On the Town. Off-Broadway/Regional: The Sound of Music (Carnegie Hall), Sunset Boulevard (Portland Center Stage), Damn Yankees, The Sound of Music (The Muny), Kristina (Carnegie Hall, Royal Albert Hall) Falsettos (Huntington Theatre)Happy End (A.C.T).
Alessa Neeck
ENSEMBLE
Alessa has appeared on Broadway in White Christmas. Other Credits: Mary Ingalls in Little House on the Prairie the Musical (1st National Tour), Happiness (Lincoln Center Theatre), No, No Nanette (New York City Center Encores!) Most recently Alessa was seen as Wendy in The Great American Mousical at Goodspeed.
Nathan Lucrezio
ENSEMBLE
Broadway Debut! Tour: A Chorus Line, New York: “SMASH”, One For My Baby, Children of God. Nathan just released his singles ‘Crazy Girl’ and ‘Walk Out The Door’ on iTunes! Thank you Jesus, the Cinderella team, Adam Caldwell, PSU, CB, my family, and friends! Lots of love! www.nathanlucrezio.com
Nick Spangler
ENSEMBLE
Nick comes direct from the original Broadway cast of The Book of Mormon. Off-Broadway: The Fantasticks! (Theater Hall of Fame Fellowship Award). Regional: Sound of Music (Carnegie Hall), GIANT (Signature, World Premiere), Saved(Kansas City Rep), Avenue X (Alliance). Nick was the winner of the reality series “The Amazing Race, 13” on CBS. Love to my beautiful wife, Monica.
Kirstin Tucker
ENSEMBLE, DANCE CAPTAIN
Kirstin is overjoyed to be making her Broadway debut in CINDERELLA! National Tours: West Side Story (Dance Captain, u/s Anybodys), A Chorus Line (Bebe, u/s Diana). Regional: Casa Mañana (42nd Street-Peggy Sawyer), The Muny, NSMT. Thanks to God, her family and friends for their love and support!
Cody Williams
ENSEMBLE
Broadway: Memphis. Other Credits: Helen Hayes nomination for Oklahoma! (Will Parker) at Arena Stage, Yank!(Cohen) with Roundabout and Old Globe, Singin’ in the Rain (Cosmo), Atlanta Ballet, PCLO. CCM graduate. HUGE thanks to Doug, Josh, Lee, Mark, Andy, David, and Robyn for making this dream possible for me!
Branch Woodman
ENSEMBLE
Broadway/National Tours: Crazy for You, Big, Bye Bye Birdie, Billy Elliot, Priscilla Queen of the Desert. Off and off-off Bway, Lincoln Center, Carnegie Hall, Actor’s Theatre, Louisville, Papermill, Goodspeed, Milwaukee Rep, Skylight Music Theatre, among others, and many Southern California credits. Grateful to the CINDERELLA creative team and The Mine. Favorite credit: daughter Rebecca.
Kevin Worley
ENSEMBLE
Kevin is very excited to be a part of CINDERELLA. Other Broadway: A Chorus Line (Al), White Christmas (u/s Phil - Orig. cast), 42nd Street (u/s Billy). Nat. tour/Regional: Jersey Boys (u/s Bob Gaudio), Spamalot, Mame, The Light in the Piazza (Fabrizio). Love to my family, teachers, friends and most of all, to my wife - Denise, I love you baby!
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The Finest Cast in All the Kingdom
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Creative
Richard Rodgers & Oscar Hammerstein II
MUSIC | LYRICS & ORIGINAL BOOK
After long and highly distinguished careers with other collaborators, Richard Rodgers (composer, 1902-79) and Oscar Hammerstein II (librettist/lyricist, 1895-1960) joined forces in 1943 to create the most consistently fruitful and successful partnership in the American musical theatre. OKLAHOMA!, the first Rodgers & Hammerstein musical, was also the first of a new genre, the musical play, blending Rodgers' sophisticated style of musical comedy (which he had perfected in a twenty-five year partnership with lyricist Lorenz Hart) with Hammerstein's innovations in operetta (conceived in collaboration with such composers as Sigmund Romberg, Vincent Youmans, Rudolf Friml and Jerome Kern.) OKLAHOMA! was followed by Carousel (1945), Allegro (1947), South Pacific (1949), The King and I (1951), Me and Juliet (1953), Pipe Dream (1955), Flower Drum Song (1958) and The Sound of Music (1959). The team also wrote one movie musical, State Fair (1945; adapted to the stage, 1995), and one for television, Cinderella (1957). Collectively, the Rodgers & Hammerstein musicals have earned 34 Tony Awards, 15 Academy Awards, two Pulitzer Prizes and two Grammy Awards.
Douglas Carter Beane
NEW BOOK
THIS SEASON: Two shows on Broadway - a new book for Rodgers and Hammerstein’s Cinderella and a new play The Nance starring Nathan Lane and directed by Jack O’Brien. MUSICALS: Lysistrata Jones (Tony Nom, best book), Sister Act (Tony Nom, best book) and Xanadu (Tony Nom, Best Book, Drama Desk Best Book, Outer Critics Circle Best Musical); PLAYS: The Little Dog Laughed (Tony Nom, Olivier Nom, GLAAD Media Best Play), As Bees In Honey Drown (Outer Critics Circle), Mr. & Mrs. Fitch (starring John Lithgow and Jennifer Ehle), Music From A Sparkling Planet, The Country Club, Advice From A Caterpillar, The Cartells; REVUES: White Lies, Mondo Drama; SCREENPLAYS: To Wong Foo, Thanks For Everything, Julie Newmar, Advice From A Caterpillar. ARTISTIC DIRECTOR: Drama Dept 1994-2006, 2 Lortels, 2 Obies; HONORS: Lortel Playwrights Sidewalk, Ovation Visionary Playwright Award; LIFE: Partner Lewis Flinn, son Cooper, daughter Gaby.
Mark Brokaw
DIRECTOR
Broadway: The Lyons, After Miss Julie, The Constant Wife, Reckless, Cry-Baby. New York premieres include works by: Douglas Carter Beane, and David Auburn, Lynda Barry, Eric Bogosian, Charles Busch, Julia Cho, Lisa Kron, Kenneth Lonergan, Craig Lucas, Eduardo Machado, Nicky Silver, Paula Vogel and Wendy Wasserstein. Regional includes Yale Rep, Guthrie, Seattle Rep, Center Theatre Group, Hartford Stage, Huntington (the new musical Marty starring John C. Reilly), La Jolla, Steppenwolf, Berkeley Rep, South Coast Rep, Sundance Theatre Lab, Kennedy Center Sondheim Celebration, and the O’Neill Theatre Conference. He has directed at London’s Donmar Warehouse, Dublin’s Gate Theatre and the Sydney Opera House. Mark is the Artistic Director of the Yale Institute for Music Theatre. Artistic associate: Roundabout Theatre.
Josh Rhodes
CHOREOGRAPHER
Josh's credits include Company, The Film (starring Neil Patrick Harris) at Lincoln Center and featured on the 2011 TONY Awards, Broadway: Three Generations at the Kennedy Center, Sondheim: the Birthday Concert for Lincoln Center and PBS, On The Town for the LA Philharmonic.Annie Get Your Gun (starring Patti LuPone) at Ravinia, Working at the Old Globe, the Prospect Theater Company, and the Broadway Playhouse in Chicago. Barnum and Yentl at the Asolo Rep, Academy at the Maltz Jupiter, 1776 at the Papermill Playhouse, The Full McNally at the Westport Playhouse, Chess and Dreamgirls at the North Carolina Theatre, Clyde & Bonnie: A Folktale at the Aurora Theatre, Kiki Baby at NYMF, Beautiful Girls at the Manhattan School of Music, Stars of David at the Philadelphia Theater Company. Josh also directed Broadway Bares 20 and 21 in New York. Broadway performance credits: Fosse, Bells Are Ringing, Sweet Smell of Success, Urban Cowboy, Man of La Mancha, The Boy from Oz, Chicago.
Anna Louizos
SCENIC DESIGN
Anna has received Tony nominations for both In the Heights and High Fidelity. Other Broadway designs include: The Performers, The Mystery of Edwin Drood, Irving Berlin’s White Christmas (also UK, Toronto, and multiple US cities); Avenue Q (also London, Toronto, Europe, Las Vegas, and National Tour); Curtains (Drama Desk, nomination); Baby It’s You; All About Me; To Be Or Not To Be; Steel Magnolias; Golda’s Balcony (also National Tour). Some Off-Broadway productions include: Sons of the Prophet (Roundabout); It Shoulda Been You (George St. Playhouse); Olive and the Bitter Herbs, In Transit (both Primary Stages); Vanities, the Musical, Birdie Blue (both Second Stage); Crimes of the Heart, The Foreigner, Speech and Debate (all Roundabout); Based on a Totally True Story (MTC); Altar Boyz (NWS); Jonathan Larson’s tick, tick…BOOM!(Jane Street). Some regional productions include: Pirates of Penzance (Stratford Shakespeare Festival); Disney’s Aladdin (5th Avenue Theatre);Arsenic and Old Lace (with Betty Buckley and Tovah Feldshuh), Sarah Plain and Tall (both Dallas Theater Center); Minsky’s (Ahmanson); Disney Live Winnie the Pooh (World Tour). Art Direction film/TV: “Sex and the City” (HBO). Feature Film: The Secret Lives of Dentists.
William Ivey Long
COSTUME DESIGN
The revival of The Mystery of Edwin Drood marks Mr. Long’s 64th Broadway costume design. Other credits include Chicago, now in its 16th year,Don’t Dress for Dinner; Hugh Jackman: Back on Broadway; Catch Me if You Can; Pal Joey; Young Frankenstein; Curtains; Grey Gardens; The Boy from Oz; Little Shop of Horrors; Hairspray; The Producers; The Music Man; Contact; Swing; Cabaret; 1776; Smokey Joe’s Café; Guys and Dolls; Crazy for You; Six Degrees of Separation; Assassins; Lend me a Tenor; Nine. He has designed for Siegfried and Roy at the Mirage Hotel, The Pointer Sisters at Caesar’s Palace, Joan Rivers at the Venetian Hotel, Mick Jagger for the Steel Wheels tour, Patti LuPone, Patti LaBelle, Liza Minelli, and for choreographers Paul Taylor, Twyla Tharp, Peter Martins, Susan Stroman and David Parsons. Mr. Long has won five Tony Awards, with twelve nominations. In addition he has won three Hewes Awards, five Drama Desk Awards, and four Outer Critics Circle Awards. He was inducted into the Theatre Hall of Fame in January 2006 and became the Chairman of the American Theatre Wing in 2012.
Kenneth Posner
LIGHTING DESIGN
Kenneth has more than 45 Broadway play and musical theatre credits. He designs extensively off-Broadway, for resident theatres and touring productions throughout the United States as well as internationally. Selected Broadway credits: Wicked, Hairspray, Catch Me If You Can, Dirty Rotten Scoundrels, Legally Blonde, The Coast of Utopia - Shipwrecked, Other Desert Cities, Harvey, The Best Man, The Merchant of Venice, The Royal Family, The Homecoming, The Frogs, The Odd Couple, Glengarry Glen Ross, The Goat, Uncle Vanya, Side Man, You’re a Good Man Charlie Brown, The Little Foxes and The Rose Tattoo. He is the recipient of the Tony, Drama Desk, Outer Critics’ Circle and OBIE Awards.
Nevin Steinberg
SOUND DESIGN
Recent Broadway: The Performers and Magic/Bird. At Carnegie Hall: The Sound of Music. Regional: In This House at Two River Theatre Company. Over thirty other Broadway productions as former founding principal of Acme Sound Partners and five Tony nominations for Porgy and Bess, Bengal Tiger at the Baghdad Zoo, Fences, Hair and In The Heights.
David Chase
MUSIC ADAPTATION, SUPERVISION AND ARRANGEMENTS
David has been Music Director, Supervisor and/or Arranger for over 25 Broadway productions, including Nice Work If You Can Get It; How To Succeed In Business…; Anything Goes; Billy Elliot; Evita; Elf; Promises, Promises; The Little Mermaid; Curtains; The Pajama Game; Thoroughly Modern Millie; Flower Drum Song; Kiss Me, Kate; Seussical; Side Show; …Forum; The Music Man and Damn Yankees. Also, arrangements forGuys and Dolls in the West End, the Boston Pops (including The Twelve Days of Christmas), the BBC Concert Orchestra, the Kennedy Center Honors (including Barbara Cook), and Radio City Music Hall. Upcoming Broadway projects include Diner; Tuck Everlasting; and a new production of Rodgers and Hammerstein’s Cinderella. David lives in New York City with his wife, actress Paula Leggett Chase, and their two sons, Kyler and Dashiell. Musical training: Biology degree from Harvard University.
Danny Troob
ORCHESTRATIONS
His career as a musician includes composing, orchestrating and conducting. Some early credits: Pacific Overtures, The Baker’s Wife (dance music), Big River (music supervision, Drama Desk Award Winner.) Orchestrated the animated features Beauty and the Beast, Aladdin, andPocahontas. Composed and conducted the score to The Little Mermaid 2 and Lady and the Tramp 2. More recently - Dr. Zhivago in Australia,Newsies on Broadway. Shrek everywhere. Very happy to have a score by Richard Rodgers to orchestrate -
it took a lifetime but it’s worth waiting for.
Andy Einhorn
MUSIC DIRECTOR AND CONDUCTOR
Andy most recently served as the Assistant Conductor for the Broadway revival of Evita. Other Broadway credits: Sondheim on Sondheim (Conductor), Brief Encounter (Music Director), The Light in the Piazza. National tours: South Pacific, Sweeney Todd, The Lion King, The Light in the Piazza. Regional/Off-Broadway: The Public Theater, Signature Theatre, Goodspeed Opera House, Oregon Shakespeare Festival. He is Audra McDonald’s music director (2011 concert tour, Carnegie Hall) and has appeared in concert with Barbara Cook. Recordings: Stage Door Canteen, Sondheim on Sondheim (Grammy nom), Evita. Honors graduate, Rice University.
Howard Joines
MUSIC COORDINATOR
Broadway: Scandalous; Chaplin; Ghost; How to Succeed in Business Without Really Trying; Promises, Promises; Bye-Bye Birdie; Grease; The Times They Are A-Changin’; Dirty Rotten Scoundrels; Off-Broadway: Bare; Now.Here.This.; Last Smoker in America; Vanities; Romantic Poetry; Adrift in Macao. In addition to hiring the finest musicians in the world, Howard continues to perform as Conductor, Percussionist, and Drummer, most recently on the Radio City Christmas Spectacular, as well as the original productions of Ghost, Billy Elliot, Dirty Rotten Scoundrels, Never Gonna Dance, Flower Drum Song, Full Monty, Jesus Christ Superstar, Miss Saigon, Les Misérables, Singing in the Rain, The King and I, andCleavage. For Robin and Taylor.
CINDERELLA
Orchestra
Matt Perri (Associate Conductor/Keyboard); Katherine Fink (Piccolo/Flute/Alto Flute); Lynne Cohen (Oboe/English Horn); Jonathan Levine (Clarinet/E-flat Clarinet/Bass Clarinet); Daniel Sullivan (Bassoon/Clarinet/Flute); Adam Krauthamer (French Horn); Aaron Korn (French Horn); Dominic Derasse (Trumpet 1/Flugelhorn/Piccolo Trumpet); Gareth Flowers (Trumpet 2/Flugelhorn); John Allred (Trombone/Bass Tormbone); Bill Hayes (Percussion); Rich Rosenzweig (Drums); Susan Jolles (Harp); Emily Bruskin Yarbrough (Violin/Concertmaster); Lisa Matricardi (Violin); Maxim Moston (Violin); Mineko Yajima (Violin); JJ Johnson (Viola); Sarah Seiver (Cello); Mark Vanderpoel (Bass); Anixter Rice Music Service/Russell Anixter and Donald Rice (Music Copying); Jeff Marder (Synthesizer Programming)
Cindy Tolan & Adam Caldwell
CASTING
Broadway credits include, The Performers, Lysistrata Jones, Relatively Speaking, That Championship Season, A View from the Bridge, All my Sons, Xanadu, Avenue Q, Medea, A Year with Frog and Toad. Film credits include, Beasts of the Southern Wild, Blue Valentine, It’s Kind of a Funny Story, Letters to Juliet, Sugar, The Private Lives of Pippa Lee, The Darjeeling Limited, The Namesake, Sherrybaby, Kinsey, Starting Out in the Evening, The Ballad of Jack and Rose, Personal Velocity, Loggerheads, Casa de los Babys, Angela. Upcoming: Winter’s Tale, Go for Sisters, May in the Summer, The Place Beyond the Pines, The Reluctant Fundamentalist. Television credits, “Curb your Enthusiasm,” “Flight of the Conchords,” “Fringe,” “The Return of Jezebel James.”
Ira Mont
PRODUCTION STAGE MANAGER
B’way: Cotton Club Parade (Encores! at NY City Center), Ghost the Musical, Relatively Speaking, the revivals of Arcadia, La Bête, A Little Night Music and The Norman Conquests, Young Frankenstein, The Producers (from the first day to the last), the 2000 revival of Jesus Christ Superstar, Smokey Joe’s Cafe, the revival of The Sound of Music (also Australia), Beauty and the Beast, Sacrilege, Love! Valour! Compassion!, Cyrano-The Musical. Tours: Catskills on Broadway, M. Butterfly, Fame-The Musical. Off-B’way: I Do! I Do!, Full Gallop (also directed in Philadelphia). Adjunct Professor at Columbia University. A Vice President of Actors’ Equity and BC/EFA.
Richards/Climan, Inc.
GENERAL MANAGER
Richards/Climan, Inc. was founded in 1997 by David R. Richards and Tamar Haimes (formerly Tamar Climan). Current credits: Who’s Afraid of Virginia Woolf? and Anything Goes (National Tour). Past credits include Glengarry Glen Ross, The Gershwins’ Porgy and Bess, Gore Vidal’s The Best Man, Relatively Speaking, The Mountaintop, An Evening With Patti LuPone and Mandy Patinkin, Bengal Tiger at the Baghdad Zoo, Driving Miss Daisy, The Pee Wee Herman Show, La Bête, The Scottsboro Boys, Race, Harry Connick, Jr. On Broadway, Blithe Spirit, Speed-the-Plow, All My Sons, November, The Lieutenant of Inishmore, Little Women, and August: Osage County. Upcoming: Bullets Over Broadway.
Robyn Goodman
PRODUCER
Robyn produced two Tony Award-winning musicals, Avenue Q and In the Heights. Also, High Fidelity, tick, tick...BOOM!, Altar Boyz and West Side Story. Plays produced include The Performers, Bengal Tiger at the Baghdad Zoo, Metamorphoses, Red Light Winter, Steel Magnolias and 50 productions during her 13 years as Artistic Director/Founder of Second Stage Theatre. Currently she is Consultant to Roundabout Theatre Company, where she is the Artistic Producer of the Underground series of emerging writers.
Jill Furman
PRODUCER
Currently, Jill is co-producing the revival of The Heiress on Broadway and the hip-hop comedy group Freestyle Love Supreme, which recently shot a tv pilot for Adult Swim. She is also an executive producer of the upcoming film Greetings From Tim Buckley. Jill was co-lead producer of In The Heights, which won the Tony Award for Best Musical in 2008, and other past Broadway productions include Seminar, West Side Story, The Drowsy Chaperone, Sly Fox, and Fortune’s Fool. Past Off-Broadway productions include On The Line and Adult Entertainment. In 2011 Jill received the Robert Whitehead Award for Outstanding Achievement in Commercial Theatre Producing. She is on the boards of MCC Theater and The David Rubenstein Atrium at Lincoln Center, and is a member of the National Board of Review of Motion Pictures.
Stephen Kocis
PRODUCER
Stephen Kocis is a Partner in Aged In Wood, LLC a Broadway Production Company which has been involved in such hits as Avenue Q and In the Heights (both recipients of the Tony Award® for Best Musical). Other Broadway credits include: Bengal Tiger at the Baghdad Zoo, American Idiot, Barefoot in the Park (Assoc. Prod) and Steel Magnolias (Assoc. Prod.); Off-Broadway: Altar Boyz; General Manager, The Performers.
Edward Walson
PRODUCER
With a background in CATV ownership and programming, Edward is now dedicating his time to producing independent films and theater. His Broadway credits include Relatively Speaking and Bullets over Broadway (pre-production). He has worked on the films City Island, Woody Allen’s summer project 2012, and Hemingway and Fuentes (pre-production) with Andy Garcia. He is also currently developing a prime time show for Regis Philbin. An active supporter of the EJAF, AmFAR and TJ Martell foundations.
Venetian Glass Productions
PRODUCER
Venetian Glass Productions is: Double Gemini Productions: Carl Moellenberg (4 Tony Awards, 23 shows) and Wendy Federman (1 Tony Award, 23 shows); Sharon A. Carr (Time Stands Still, Scottsboro Boys, Stick Fly, Trip to Bountiful, Pippin); Ricardo Hornos (Broadway: Evita, The Heiress. Argentina: Steady Rain, Good People); Jamie deRoy (Tony Award: Norman Conquests, 24 shows); Richard Winkler (3 Tony Awards: Norman Conquests, La Cage aux Folles, Memphis, 10 shows); Broadway Consortium: Van Dean and Kenny Howard (1 Tony Award, 9 shows); Michael Filerman (Nice Work…, Driving Miss Daisy, Porgy and Bess, 19 shows).
The Araca Group
PRODUCER
Founded in 1997 by partners Matthew Rego, Michael Rego, and Hank Unger, The Araca Group produces and Merchandises live entertainment and theatrical events on Broadway and around the world. For more information, please visit araca.com.
Luigi & Rose Caiola
PRODUCERS
Producing entity Caiola Productions LLC; Luigi and Rose are also owners of B&L MGMT, a family owned Manhattan real estate firm. Broadway: Godspell, The Heiress, Glengarry Glen Ross, The Anarchist, Who's Afraid of Virginia Woolf, Cinderella. Rose Caiola, Artistic Director, Manhattan Movement & Arts Center and MYB. Off-Broadway: co-author and producer, Freckleface Strawberry the Musical. Film: Executive Producer, First Position. Luigi Caiola is also producing Jekyll and Hyde this season. Luigi and Rose thank Bettina and the late Benny Caiola for making everything possible.
Roy Furman
PRODUCER
Currently on Broadway: The Book of Mormon (Tony Award), Annie, Cat on a Hot Tin Roof and Nice Work if You Can Get It. Upcoming: Lucky Guy. Other productions include War Horse (Tony), Evita, The Heiress, The Addams Family, West Side Story, Gypsy, Spamalot (Tony), The Color Purple, History Boys (Tony). Co-founded investment firm Furman Selz, now Vice Chairman Jefferies & Company and chairman Jefferies Capital Partners. Vice Chairman Lincoln Center, Chairman Emeritus Film Society Lincoln Center.
Walt Grossman
PRODUCER
Credits include Avenue Q, Barefoot in the Park, In the Heights, West Side Story, American Idiot, Bengal Tiger at the Baghdad Zoo, & Altar Boyz (Off Broadway). Walt is an active private investor.
Glass Slipper Productions
PRODUCER
A partnership between Jim Fantaci and Susan Carusi, Broadway production veterans and good friends for over 25 years. Jim's prior productions include Spamalot, Dirty Rotten Scoundrels, The Drowsy Chaperone, Color Purple, Martin Short, Come Fly Away, West Side Story, and Book of Mormon. Susan's credits include Color Purple, The Miracle Worker, Addams Family, Book of Mormon, and Nice Work if You Can Get It. We extend our love and thanks to our supportive spouses, Anna and Bruce, and our children, Michele, James, and Matthew Fantaci, and Alison, Jamie, Sean and Kelly Carusi.
Ted Liebowitz
PRODUCER
Broadway Productions include: The Book of Mormon, Evita, The Addams Family, The Mountaintop, Annie and Cat On a Hot Tin Roof. Films include: The Oscar nominated The Illusionist and Gray Matters. Serial Internet Entrepreneur and Founder of The Liebowitz Entrepreneur Program at Brooklyn College.
Peter W. May
PRODUCER
Peter W. May is President and Founding Partner of Trian Partners, an investment management company. Broadway credits include Grace (Producer), Fortunes's Fool (Producer, Tony nomination), Sweet Smell of Success (Assoc Producer). He is a lover of Broadway and an avid investor. Productions include Book of Mormon, Kiss Me Kate, West Side Story, A Little Night Music, Annie, Evita, Nice Work if you Can Get It, and others.
Sanford Robertson
PRODUCER
A San Franciscan debuting as a producer in 2011-2012 with three productions (Evita, Nice Work if You Can Get It, and The Heiress). His past interest has been in sponsoring musical theater at two universities, Michigan and Northwestern.
James Spry
PRODUCER
Broadway: Seminar, Next Fall (Tony Nomination). Off-Broadway: Desperate Writers. Film: Sumi (Executive Producer). Other: President of Loralee Foundation. Proud Member of the Broadway League.
Center Theatre Group
PRODUCER
CTG (Michael Ritchie, Artistic Director; Edward L. Rada, Managing Director; Douglas C. Baker, Producing Director) is the flagship theatre company of Los Angeles, producing at the Ahmanson Theatre and Mark Taper Forum at the L.A. Music Center, and at the Kirk Douglas Theatre in Culver City. In recent years, CTG has sent a number of musicals to Broadway including The Drowsy Chaperone, Curtains, and Bloody Bloody Andrew Jackson, and the play Bengal Tiger at the Baghdad Zoo.
Blanket Fort Productions
PRODUCER
Blanket Fort Productions, founded in 1983, is beginning its fourth decade of off-the-wall entertainment. Past productions include Legally Blonde on Broadway as well as regional productions of My Fair Lady, The Phantom Tollbooth and The Pushcart Wars. While working to bring elephant polo, Dairy Queen and cinema to the shores of Megunticook, we’re thrilled to be involved with this production.
Charles Salameno
ASSOCIATE PRODUCER
Charles studied business management at Boston University and is currently working at a Venture Capital firm, Penny Black LLC. He is able to pursue his arts and entertainment passion including Stick Fly with Alicia Keys, which recently has been picked up by HBO. Charles is also executive producer on Pippin and Who You See Here, being released later this year. Charles has also finished his first two short films and is continuing on this path by opening a production company in LA and NY.
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