With much poetic license:
New York City Opera
OperaPak (C) Synopsis
CINDERELLA
Music by Richard Rodgers
Book and lyrics by Oscar Hammerstein II
Adapted for New York City Opera by Robert Johanson
First performed on March 31, 1957 over the CBS television network
CHARACTERS
FAIRY GODMOTHER (soprano) [L.H. Friend & Co.]
HERALD (tenor) [Jesse Emspack author of "rumor" report]
STEPMOTHER (mezzo-soprano) [Vivek Rao]
JOY (mezzo-soprano), her daughter [Shorts]
PORTIA (mezzo-soprano), her daughter [Technical Analysis]
CINDERELLA (soprano), her stepdaughter [Optical Division]
QUEEN (mezzo-soprano) [Ken Ahmad]
KING (baritone) [Schlomo]
PRINCE CHRISTOPHER (tenor), their (future) son [TBA]
ROYAL COOK (baritone) [Noam Lotan]
ROYAL STEWARD (tenor) Townspeople, guests at the ball, servants, dancers [Shareholders]
Notes on the historical context of the year of Cinderella's premiere and a discography follow
the synopsis.
ACT I
Prologue
A storybook kingdom; "once upon a time"
Following the overture, the curtain rises on a tableau vivant of the townspeople. The Fairy
Godmother enters and explains to the audience that we are about to see the story of
Cinderella, "a sweet child" who "was taken advantage of by sour people." With a magical
sweep of her arms, she makes the stage come alive.
In the public square, a Herald proclaims that "The Prince is Giving a Ball." The townfolk
eagerly anticipate the event; the unmarried women are especially excited, since the ball is
being given in order to find a bride for the royal heir. As the song concludes, an extraordinary
procession is seen -- the stepmother passes through with her two peacock-like daughters,
Joy and Portia; they are followed by Cinderella, burdened with parcels. Her plight prompts
stares of pity from the crowd as her stepmother callously hurries her along.
Scene 1
The kitchen of Cinderella's house
The family has made its way home, and there is much shouting of orders to Cinderella. The
girl helps the others settle themselves, then retreats to her place of refuge: a small chair by the
fireplace. She listens avidly as her stepmother tells Joy and Portia about the Prince's desire to
find a bride at the ball. Their mother is determined that one of her natural daughters will be
chosen, though neither is very bright and both prattle inconsequentially. Exasperated, their
mother sends them off to bed and, after a nasty remark to Cinderella, she follows.
Left alone, Cinderella sits alone by the fireplace. She sings "In My Own Little Corner,"
imagining herself as a princess, a prima donna, an heiress, a huntress and even a mermaid as
she declares, "I can be whatever I want to be."
Scene 2
The dressing room of the royal palace
The King and Queen discuss the forthcoming ball. Worried about the unhappiness of her son,
the Queen insists that his birthday be celebrated. It is time he found a wife and besides, they
have been remiss in not providing entertainment for the people of the kingdom. Wincing at the
anticipated expense, the King contemplates the empty treasury as his wife calls in the cook
and the steward. They plan the details of the ball ("Your Majesties"), much to the King's
consternation; the Queen exits with the servants.
Prince Christopher passes through on his way to his morning ride, and stops to speak to his
father. Both express their dread of the ball as the Queen enters, unseen, and overhears their
conversation. The King and his son address the question of marriage; Christopher knows that
it is his obligation to wed and produce an heir, but he has not yet been able to find a woman
he could love. He expresses his longing in a wistful ballad, "Loneliness of Evening." His father
agrees that love is an important consideration; he himself married for love, and still adores his
wife ("My Best Love"). The King asks his son to feign enthusiasm for the ball, since the
Queen has her heart set on it.
The Queen makes her presence known. The Prince, fearing that he will be coerced into
helping with the ball preparations, beats a hasty retreat. Touched by what she has overheard,
the Queen expresses her devotion to her husband.
Scene 3
Cinderella's house
The evening of the ball has arrived. The stepmother, Joy and Portia are frantically touching up
their costumes; Cinderella hurries about at their beck and call. The stepmother tries
desperately to drill some last-minute social graces into her dim-witted daughters -- but neither
has the slightest clue about appropriate small talk, and their curtsies are clumsy and gauche.
When their carriage arrives, the three depart.
Cinderella retires to her corner, imagining herself at the ball. Her Fairy Godmother appears
and playfully chides the girl for her fantasies ("Fol-de-rol and Fiddledy Dee"). The two begin
a sprightly duet ("Impossible") in which they acknowledge that the wildest of dreams can
become reality for those "zanies and fools" who "keep building up impossible hopes"; even a
plain yellow pumpkin can become a golden carriage! Cinderella wishes with all her heart to
attend the ball and, with her godmother's help, her wish comes true: a magnificent coach
arrives to carry her to the palace, and her ragged dress is magically transformed into a
beautiful gown. Cinderella enters the coach, promising her beloved godmother to leave the
ball before midnight
ACT II
Scene 1
The ballroom of the palace
The Prince dutifully dances with all of the eligible young ladies of his kingdom. Though the
King and Queen are pleased with the festivities, they regret their son's obvious lack of
interest. The stepmother enters with her daughters in tow, and thrusts Portia into the Prince's
arms for an awkward dance. When it is Joy's turn, the poor girl fails miserably to make
conversation with the Prince.
Suddenly, Cinderella enters in her finery; all heads turn in her direction. No one recognizes
the former drudge, and the Prince is instantly smitten. He makes his way over to the new
arrival and sweeps her into a waltz. The King and Queen, delighted that Christopher has
finally taken an interest in a young woman, happily join the dance.
Scene 2
The palace garden
Alone, the Prince and Cinderella take the opportunity to become better acquainted. Though
both feel they know each other, they agree that they have never met; "Except, perhaps, in our
dreams," offers Cinderella. They express the joy of love at first sight ("Ten Minutes Ago"),
then go off arm in arm.
Joy and Portia arrive in time to observe the departure of the lovestruck pair. In high dudgeon,
they launch into "The Stepsisters' Lament," bemoaning the fact that the Prince prefers a "frail
and fluffy" beauty like Cinderella to their own "solidity." They exit in a huff.
Cinderella and the Prince waltz back into the garden, and he tries to learn more about her; he
doesn't even know her name. But Cinderella remembers her pledge to leave the ball before
the final stroke of twelve, and she turns to leave. The Prince is loathe to let her go, realizing
that this is the woman for whom he has been searching. He is in love for the first time in his
life, but confused at the suddenness of events. The Prince begins a gentle duet, "Do I Love
You Because You're Beautiful?", in which he and Cinderella wonder of each other: "Are you
the sweet invention of a lover's dream, or are you really as wonderful as you seem?" They
embrace, and Cinderella is about to reveal her name when the clock strikes midnight. With a
cry of dismay, she runs from the garden.
Scene 3
The ballroom
The Prince pursues Cinderella as she runs through the crowd, but she escapes him. All that
remains of the bewitching stranger is a glass slipper, left behind on the grand staircase.
Immediately, the Prince orders the herald that every woman in the kingdom is to try on the
slipper until his beloved is discovered. Though the Queen warns him not to pursue a dream,
the young man is determined.
Scene 4
Cinderella's house; later that night
Returning home, Cindrella's stepmother and stepsisters talk of the ball while the poor girl
waits on them. Cinderella imagines how wonderful the evening must have been; though the
others mock her, she launches into a song in which she relives the thrilling events of the
evening ("When You're Driving (optically)Through the Moonlight"). Amazed that her fantasy is so
accurate, the others are caught up in the recitation as Cinderella describes a romantic
encounter with the handsome Prince ("A Lovely Night").
The Herald arrives with the glass slipper. Joy, Portia and even the stepmother try in vain to
force their oversized feet into the tiny shoe. The Herald inquires if there are any more women
in the house; when he is told "no," the Fairy Godmother appears and pointedly reminds them
of Cinderella. Though the idea that their stepsister might be the Prince's mysterious beloved
sends Joy and Portia into paroxysms of laughter, the Herald insists she try on the slipper. But
Cinderella is nowhere to be found.
Scene 5
The palace garden
The Herald reports to the Prince the failure of his mission, then takes his leave. Cinderella
wanders in sadly, believing herself alone; the Prince's greeting startles her. Though he is sure
he has met her, she demurs, ashamed of her ragged appearance. When Cinderella turns to
leave, the Fairy Godmother materializes to help the lovers. The Prince remembers the glass
slipper, and slips in onto the girl's foot. It fits perfectly!, "I've found you!", he cries out in
jubilation.
Scene 6
The ballrooom
It is the day of the royal wedding. The King and Queen greet their subjects, and Cinderella
and the Prince enter as bride and groom. The Fairy Godmother appears, freezes the action in
a tableau once again, and proclaims that "Impossible things are happening every day!" All
reprise "Do I Love You Because You're Beautiful?" as the curtain falls. |
