Cinderella

Just saw this b&w copy on KET2 (Kentucky Educational Television). What a treat! Julie Andrews' voice was marvelous (though I didn't think she quite captured the innocence of Cinderella, even at 21). Edie Adams really hammed it up as the fairy godmother -- she was terrific! And it was fun seeing familiar character actors such as Jon Cypher and Alice Ghostley in their earlier days. The version I saw broke in periodically for current-day commentary by Julie Andrews, Jon Cypher, Kaye Ballard, etc. It was fascinating that they did it in real time, with costume changes just barely beating the camera!

If you get a chance to see this, go for it! It's a national treasure, even if the old Cinderella story is not your cup of tea.

This musical Cinderella was the original. I like it the best for its innocence... the later versions with Lesley Ann Warren and Brandy were good as well, although much changed. This is my favorite. If you happen to see it, lucky you! The CD of the music is great too.

I'm gonna piggy-back right along with the previous comments. I just saw it on Maryland Public Television and it was a real event for me. I know both of the remakes, the Disney cartoon, the Prokofiev ballet, and the film EVER AFTER. But I'm a vintage T.V. junkie at heart, and more than anything else, this production was a phenomenal advancement in TV entertainment. Differing from the broadcast adaptation of the Broadway musical PETER PAN- and as Julie Andrews herself mentions in the opening monologue- this production was originally written for television by Rodgers & Hammerstein themselves. And it is the quirky, tongue-in-cheek script which is one of the show's delights. The biggest delight by far, is the fact that this was a LIVE performance, shown warts and all- like a boom mike shadow on a draping wall or a missed song cue in the second act. This performance occurred roughly six months ahead of the first ever videotaped images. No CGI or ILM movie effects here. Once you fully understand that, you can suspend yourself completely into a more innocent and wondrous frame of mind and let the performances and especially the music speak for themselves. A cleaned up, remastered kinescope film, you'll notice the unusually high contrast in some of the darker images and nighttime sequences. But the "Impossible" Act 1 finale with Andrews and gorgeous fairy godmother Edie Adams is still a stellar moment, from the sparkler lighting effects to the final shot inside the moving coach. And it is nice to see so many surviving cast members (Kaye Ballard, Edie Adams, and Jon Cypher) comment on this 47-year-old production. I loved it!!

I've finally seen a B&W kinescope copy of the live color telecast of March 31, 1957--about 3 months after I was born. Someone of my age can take into account that this was live television (something many younger viewers may not be able to do), and accept all the limitations inherent in that medium. Still, this is by far a superior version of the R&H classic. The celebrated team did not condescend to the medium of television, but chose to treat it as every bit as important as a Broadway show. Hammerstein's lyrics for such songs as "IN MY OWN LITTLE CORNER," "IMPOSSIBLE," and "DO I LOVE YOU BECAUSE YOU'RE BEAUTIFUL" are as fine as any he wrote for Broadway. Likewise, Rodgers' music for those songs, plus his "GAVOTTE," "WALTZ FOR A BALL," and "WHEN YOU'RE DRIVING THROUGH THE MOONLIGHT/A LOVELY NIGHT" are among his best melodies. The script is witty; the actors play it realistically, and with humor. All in all, this production should be revived today on live television [despite the Disney version with a miscast Brandy] with a cast equal to the original. Unfortunately, there is probably no one to rival Julie Andrews in today's young musical comedy stars--although Kristen Chenowith might be great Cinderella. (Hint, hint!!) If you ever get a chance to see thus version, GO!!!!!

Boy, those were the days, weren't they? They did the musical live before millions of Americans. All that choreography, singing, staging, lighting, props getting set, happened live before the cameras, a TV musical with no net. Julie Andrews was granted a short leave of absence from My Fair Lady in order to do it. Lucky for us Lerner and Loewe were so generous to their American counterparts, Rodgers and Hammerstein. I was not quite four when this show appeared, but I was blown away enough to want to go into musical theater from that point on. Yes, those were the days...when TV was used for something more important than selling Viagra.