You probably think you know the story. The pumpkin, the glass slipper, the midnight deadline—it’s the ultimate fairy tale. But honestly, the history of Rodgers and Hammerstein Cinderella is way weirder and more interesting than just a simple "happily ever after." Most people don't realize that this wasn't originally a Broadway show at all.
It was a TV experiment.
In 1957, Richard Rodgers and Oscar Hammerstein II were the undisputed kings of Broadway. They had Oklahoma!, South Pacific, and The King and I under their belts. So, when CBS approached them to write a musical specifically for television, it was a massive deal. They didn't just want a show; they wanted an "event." And they got one. On March 31, 1957, over 107 million people tuned in to watch Julie Andrews—fresh off her success in My Fair Lady—step into the glass slippers. To put that in perspective, that was about 60% of the entire U.S. population at the time.
It was the largest audience in the history of the planet for a single broadcast.
The Julie Andrews Era: A Live-TV Tightrope Walk
Imagine trying to pull off a full-scale musical live on air in 1957. No CGI. No safety net. The sets were crammed into a tiny studio in New York. Space was so tight that the orchestra had to be hidden in another room, and the actors had to navigate a literal obstacle course of cameras and cables.
One of the funniest bits of trivia? The live mice they used for the carriage transformation kept growing during rehearsals. They had to keep swapping them out for smaller ones so they’d actually fit the "mouse" aesthetic by showtime.
Julie Andrews was perfection, obviously. She played a "slightly sophisticated" version of the character. But despite the massive success, the 1957 version almost disappeared. Because it was broadcast live, the only reason we can see it today is thanks to a black-and-white kinescope—basically a film of a TV screen. The original color broadcast is lost to time.
1965 and 1997: The Remakes That Changed Everything
Since the original wasn't filmed in a way that worked for reruns, they remade it. Twice.
The 1965 version starring Lesley Ann Warren is the one most Boomers and Gen X-ers remember. It was more of a traditional "once upon a time" vibe. It was filmed on videotape, making it way easier to rebroadcast annually. Warren was only 19, bringing a wide-eyed, innocent energy that was totally different from Andrews’ more poised take.
Then came 1997.
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If you grew up in the 90s, the Whitney Houston and Brandy version is your Cinderella. This wasn't just a remake; it was a revolution. Whitney Houston originally wanted to play Cinderella herself, but by the time the project got greenlit, she felt she’d outgrown the role. She hand-picked Brandy and stepped into the role of the Fairy Godmother.
This version blew the doors off "color-blind" casting. You had a Black Cinderella, a Filipino-American Prince (Paolo Montalbán), a Black Queen (Whoopi Goldberg), and a White King (Victor Garber).
Kids didn't care. They just saw a beautiful, vibrant world.
The 1997 production also "pop-ified" the orchestrations. It added songs from the Rodgers and Hammerstein vault, like "The Sweetest Sounds" (from No Strings) and "There’s Music in You." It was punchy, funny, and honestly, the costumes were incredible. It proved that the Rodgers and Hammerstein Cinderella score was flexible enough to handle a more modern, R&B-influenced soul.
Why it took 56 years to get to Broadway
It’s kinda wild that a musical by the most famous duo in theater history didn't hit Broadway until 2013. For decades, it was considered a "TV property." When it finally arrived at the Broadway Theatre, it had a brand-new book by Douglas Carter Beane.
He changed a lot.
In the 2013 version, Cinderella (Ella) isn't just a girl waiting for a prince. She’s an activist. She helps the Prince (named Topher in this version) realize his advisors are exploiting the poor. It’s a much more "woke" take, for lack of a better word. Some purists hated the political subplots involving a revolutionary named Jean-Michel, but it gave the story more meat for a modern audience.
The 2013 version also pulled in more "trunk songs"—pieces Rodgers and Hammerstein wrote for other shows but never used. "Loneliness of Evening," which the Prince sings, was actually cut from South Pacific.
Which version should you watch?
Honestly, it depends on what you're looking for.
- The 1957 Original: Watch it for Julie Andrews' vocals and the historical "how did they do this live?" factor.
- The 1965 Remake: Perfect if you want that classic, Technicolor, old-school Hollywood feel.
- The 1997 Whitney/Brandy Version: This is the peak for energy, diversity, and vocal power. It's currently on Disney+, so it's the easiest to find.
- The 2013 Broadway Version: Look for the cast recording if you want a more complex, witty take on the lyrics.
The Secret Sauce of the Music
What makes this version of the story stick? It's the "Impossible" factor.
Most Cinderella stories focus on the magic. Rodgers and Hammerstein focused on the yearning. "In My Own Little Corner" is an anthem for anyone who feels stuck. It’s not a song about a princess; it’s a song about a girl using her imagination to survive a crappy situation.
And then there's "Ten Minutes Ago." It’s one of the most perfect waltzes ever written. It captures that specific, dizzying feeling of falling in love in real-time.
Actionable Steps for Musical Fans
If you want to dive deeper into the world of Rodgers and Hammerstein Cinderella, here is how to experience the best of it right now:
- Stream the 1997 Film: It’s on Disney+. Watch it not just for the nostalgia, but to see how they interpolated songs like "Falling in Love with Love" into the plot.
- Compare the Lyrics: Listen to the 1957 cast recording vs. the 2013 Broadway recording. Notice how the 2013 version shifts the perspective from Cinderella being a passive character to an active one.
- Check Licensing for Local Theater: If you’re involved in community theater or school drama, look into the "Enchanted Edition." It’s the version based on the 1997 movie and is generally considered the most "performable" for modern groups.
- Look for the Kinescope: You can find clips of Julie Andrews’ 1957 performance on YouTube. Even in grainy black and white, her "In My Own Little Corner" is a masterclass in acting through song.
The legacy of this musical isn't just about a glass slipper. It’s about how the story keeps evolving. Whether it’s a live broadcast in the 50s or a diverse powerhouse in the 90s, the message stays the same: "It’s possible."