“Cinderella” by wuxiangyu

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                         Scene Analysis and Staging Suggestions
                                     ~ Draft Updated September 3, 2010 ~

The following is a scene-by-scene analysis, with rationale for choices and any changes, for our
production of Cinderella. It is important to remember that there truly is no “definitive” version of
this show. We are all most familiar with the various television versions, each of which has at least
some admirable qualities, but this is a distinct stage version most closely based on the 1957
television version. There are clips (or the entire show) on YouTube of these productions:


1957 Julie Andrews Live Television Version (Entire show on YouTube)
               Start with this web link:
This is the classic original version that “started it all”. Originally thought to be lost, a black-and
white kinescope copy of the broadcast was discovered and released. The characters, including
the Godmother, King and Queen, are much more realistic and sometimes a bit “jokey”, but
considering it was done live at the time the production is pretty amazing in many ways. And,
seeing some of the performances is pretty special. I’ve always loved Edie Adams and Kaye
Ballard. Jon Cypher is a pleasant surprise as the Prince and Julie Andrews is, well, Julie
Andrews. While overly made-up, she’s amazing. Tempos are often too slow on the cast

1965 Leslie Ann Warren Staged Pre-Recorded Television Version (Clips on
                   Start with this web link:
Oscar Hammerstein II died a few years after the original broadcast of “Cinderella”. Richard
Rodgers decided a remake was in order, so he threw out his former partner’s book, had Joseph
Schrank write a new script, and most people didn’t have a clue. This version is closer in tone to
the original fairy tale, set in medieval dress, and had some wonderful character actors in
supporting roles including Ginger Rogers, Walter Pigeon, Celeste Holm and a wonderful Pat
Carroll. Stuart Damon was a dashing Prince and a delight to listen to on the recording, and while
Leslie Ann Warren was, to my mind, a joy to watch in the role, she’s not as enjoyable to listen to
as a singer. Some tempos are too slow on the cast recording.

1997 Brandy Television Movie Version (Entire show on YouTube, although there is
         little of this version in our show and we should not try to emulate the pop voices
         of some of the actors)
                    Start with this web link:
Although there are people that like this version and, to its credit, created a racially diverse cast
and introduced a new generation to the music and the show, I really dislike both the new book
and some of the pop voices that were used in this production. In addition, it’s really a “movie”
version of the show and has little to do musically with the original production in terms of the
arrangements and staged musical numbers.

2008 Lea Salonga Asian Tour Stage Version (Clips on YouTube, including an
       interesting “Making of Cinderella” program)
                See these web links:
Lea Salonga won a Tony Award for her performance in “Miss Saigon” and appeared in several
other major Broadway and London shows. Vocally, she is probably the most outstanding of any
recorded Cinderella. Since it was produced outside the United States, the production was
permitted to change many details of the show, including additional songs which we do not have
the rights to use. The costumes for this production were quite wonderful, and several of the
supporting vocal performances are delightful to listen to.


2008 Tokyo’s Morning Musume / Takarazuka Revue Stage Version (Entire show on
Morning Musume is a girl group pop phenomenon in Japan, and the all-female Takarazuka
Revue acting troupe is legendary in Tokyo. They combined to produce this ultra-romantic,
bloated, talky, musically repetitive production that in some ways exemplifies the worst in foreign
productions of Broadway musicals. Certain cultures view spending an evening at the theatre as
spending an evening at the theatre, and this production certainly gives the audience it’s monies
worth! However, there are a lot of things to admire here if you can get past all of the nonsense,
including some creative musical sequencing and staging, fine magic effects, beautiful lighting and
some nice set designs.

The 1957 television version spawned stage productions in the US as early as 1961, and it was
staged at the New York City Opera in 1993, 1995 and 2004 with Eartha Kitt as the Fairy
Godmother! It is important to note that new scripts were written for almost every version of the
show. After Oscar Hammerstein’s death in 1960, Richard Rodgers actually approved the removal
of Hammerstein’s original script for a new version for the 1965 version. And, the overture and
incidental music varies widely, so much of what is on the recordings is not what is available for
performance. However, there are complete (or almost complete) recordings of all of the dance
music, and many of the actual incidental music orchestrations can be heard on YouTube.

Our version most closely resembles the 1957 version, although there are some significant
variables in both the orchestral music and in song choices and placement. While not going into
great detail here, I have tried to incorporate what I feel is the best of each version into our

Production Visual Guidelines
I would propose the following guidelines for the “look” of the show:

Color Schemes

Color schemes revolve around the three “types” of scenes in the show:

        1) Scenes of “Romance” are in pastels, particularly pinks, light blues and light purples,
               with white and black accents (see Night Forest and Ballroom backdrops).

        2) Scenes of “Everyday Life” are in yellows, browns and beiges accented by reds,
               oranges, etc. (see Town Square backdrop).

        3) Scenes of Royalty are in white, using accents of red, gold, silver and deep blue.

Costume Examples

I would propose using the Napoleonic / Regency period for costuming inspirations. Two types of
costuming are necessary:
        1) Everyday clothing, which needs to be both period and varied, suggesting a variety of
                occupations and status in society. The 1997 Asian tour YouTube clips and
                online photos offer excellent suggestions.
        2) Formal ball / court clothing, using high-waisted Regency-inspired women’s dresses
                (which flow well when dancing) and Napoleonic military dress for the men. Good
                examples can be found in the 1957 TV production (see Youtube). However, no
                tights for the boys!

Adding theatrical touches used in the Australian 2008 production would be wonderful, and both
the everyday and royal costumes in this production are wonderful. However, I don’t like the
overly cartoonish Disney touches used for the stepsister’s dresses in this production. Note that
we are not staging the production with medieval costumes, as are used in the 1965 version,
although they are quite attractive in their own way.

Scenes Requiring Choreographed Dance or Movement

        Movement:        Act 1, Scene 1 “The Prince is Giving A Ball”

        Dance:           Act 1, Scene 3: “Your Majesties” Dance (this might be the one dance
                                 number to cut)
                         Act 2, Scene 2: “Gavotte” choreographed with dialogue
                         Act 2, Scene 3: “Ten Minutes Ago” Waltz between Cinderella and Prince
                         Act 2, Scene 4a: “Waltz for a Ball” – Three Parts
                                 Dancers alone
                                 Cinderella and Prince alone with chorus singing, surrounding the
                                 Entire Ensemble
                         Act 2, Scene 6: “Reprise – Do I Love You” – Two dancers dressed as
                                 Cinderella and Prince dance (classical ballet style) in low light
                                 as Cinderella and Prince sing.

        Note: There may be more dance or movement required as the staging progresses.
Light Effects
A variety of lighting is needed, varying from “filtered and mysterious” to “bright and sunny”.
Several scenes require the use of spotlights, both strong full spots and filtered pinpoint spots.
Plus, we will need some imaginative “shock and awe” moments connected with the magic effects.
The Ballroom Scenes in Act 2 require clock projections.

Props List
This show does not require an overly large number of props. See the Props Excel Spreadsheet
for a sequenced scene list of needed props.

Rental Drops from Grosh:

Night Forest Scenes
        Night Forest #ES2565                    17’h x 40’ w     $375.00 x 2 weeks

Town Square Scenes:
      Main Street with Castle #S2936            17’H x 40 w      $375.00 x 2 weeks

Ballroom Scenes – Either
        Columns and Candelabras #ES7441         22’ h x 50 w     $395.00 x 2 weeks

Palace Garden Scenes – Add
       Black Sharkstooth Scrim ED2044           20’ h x 50 w     $495.00 x 2 weeks

Plus: Use Black Mid Traveler for Scenes using:
    1) The Unit Sets for Cinderella’s House and the Royal Dressing Room.
    2) Add the Night Twinkling Star lights with the Black Mid Traveler for the Transformation

NOTE: Black Mid Traveler will need to be rehung on the next rod further upstage.

Set Pieces to be Constructed

        1) Heralds Staircase Platform for Town Square – Also used as House Unit #5
        2) House Unit #1: Door on very low platform, which revolves to have both an exterior
            and interior facade
        3) House Unit #2: Dining Area on very low platform – 3 removable wall panels which
            becomes Ballroom Royal Platform with added large plant urns
        4) House Unit #3: Fireplace Unit, which revolves to become Royal Dressing Room
        5) House Unit #4: Wall Unit with attached “Magic Chair” attachment, which revolves to
            become Royal Dressing Room sitting area.
        6) House Unit #5: Staircase, which revolves to become Town Square Herald’s Platform
            (see above)
        7) Carriage – See wonderful example in Asian Tour clips and photos
        8) Ballroom staircase – curving if possible? – stationary downstage. See Japanese
            Version Clips 8, 9 and 15 OR see Klein’s design
        9) Bench painted as stone or rustic wood
        10) Royal Garden flowering trellis?
        11) Well for Opening Scene?

Special Effects will be needed for all of the magic moments, which occur primarily at the end of
Act 1 and beginning of Act 2. We may need to hire a Stage Effects Advisor (Independent
Contractor) to deal with this aspect of the show. See the Special Effects Excel Spreadsheet for a
sequenced scene list of needed props.
Sound Effects will need to include such sounds as a horse whinny and magic wand flourishes
See the Sound Effects Excel Spreadsheet for a sequenced scene list of needed props.

Scenic Analysis of “Cinderella”
Music Notes are in Dark Red.

Opening of Cinderella: This is one of the few changes in structure that I would advocate. This
resembles the opening of the 1965 TV version, in which Cinderella meets a tired Prince as he
returns home, offering him a cup of water. You can follow the actual musical sequence in the
Japanese version (Parts 1 and 2) by using the following cues from YouTube link:

Act I Overture + “Loneliness of Evening” Forest Scene w/Well
         Orchestra starts Overture at :48 mark and plays until 1:26. Magical lights on Main
         At 1:16, Main Curtain rises on Forest Scene with House Door Unit DR.
         Prince and two soldiers are DL. OR ENTER FROM THE BACK OF AUD
                  Prince sings “Loneliness of Evening” 4:54 to 6:51
                  As he sings, Cinderella enters DR, draws water.
                  One of the soldiers pantomimes offering the Prince a drink as in video clip.
                  During musical interlude, Cinderella offers Prince a drink and their eyes meet.
                  She backs off as he finishes song. I propose adding two lines:

                 Soldier: We must now depart to the Castle, your Highness.
                          As they turn SL to leave, Cinderella looks at the audience and, in
                          wonderment says:
                 Cinderella: Your Highness???

         Tableau for a moment as Orchestra starts Overture at 1:27. Black out.
         Main Curtain closes?
         Forest Scene drop up, fountain off SR.
         Main Curtain opens on next scene.

Characters:      Cinderella
                 Two Groomsmen

Costumes:        See Plot for Costume #1

Choreography: None

Lighting:        Atmospheric evening, with pinpoint spot on Prince in the opening

Props:           Bucket, ladle, cup

Scenery / Drops:
              Water Jug with cup DR
              Door Unit DR
              Night Forest #ES2565 17’H x 40’ w

Sound / Special Effects: None

Act I Overture Continued + Scene 1 Set-Up Frozen Tableau Town Square
         Mid-scrim is down with Town Square drop Upstage. “Stone” platform C. Flat Dress Shop
                 door with sign and pitched roof R.
         When Overture reaches 2:08, lights up on Tableau of frozen townspeople.

         When music reaches m. 100, people start to move about. SOME CAST COULD ENTER
               FROM THE AISLES.

Music Score Sequence:
       1. Overture mm. 1 - 13
       Insert “Loneliness of Evening” with instrumental repeat of verse during drinking
       After inserted lines, resume 1. Overture at m. 14
       Could cut mm. 45 – 78
       Curtain opens on m. 100 (“A Lovely Night” melody)
       Play to m. 140, which should be a D (?) tremolo in the strings.
       Cut rest of the piece, and cut #2 Curtain Music – Act 1
       Drum roll goes directly #3 “The Prince is Giving A Ball”

Characters:     Cinderella
                All Townspeople
                Potential Princesses

Costumes:       See Plot for Costume #1

Choreography: Movement

Lighting:       Daylight

Props:          Invitations

Scenery / Drops: Main Street with Castle #ES7227    17’H x 40’ w
              House Unit 5 Reversed - Staircase Pedestal

Sound / Special Effects: None

Act I: Scene 1 Town Square
     At 2:16, scrim up and townspeople begin to bustle about in square – MOVEMENT MUST
              BE CHOREOGRAPHED.
              About 15 seconds into the music, Stepmother and Stepsisters, followed by
              Cinderella who cross DL to R.
              Stepmother and Sisters exit “to shop”.
              Cinderella stays onstage and watches action.
     At 2:47 the bustling sound of the violins announce the arrival of the Herald and Guards,
              who enter DR to C
     Orchestra tremolo at 2:54, followed by a drum roll.
     Then go directly to 8:24 “The Prince is Giving A Ball”

     Suggestions for “The Prince is Giving A Ball”
            1) Costumes should be varied and colorful, representing the different types of
                people in the village, including trades people.
            2) One of the Guards should hold a large scroll with the proclamation, which the
                Herald refers to, rather than reads. The Herald is passing out invitations,
                which all eagerly want. Refer to Asian Tour YouTube clip for suggestions for
                either choreography or movement.
            3) SUGGESTION: When singing, have only the specific small group of singers
                face audience. Have rest of cast face UC towards herald. This forces the
                audience to focus on important lyrics, rather than be distracted by stage
            4) Insert GUEST POTENTIAL PRINCESSES in section beginning “I wish I
                didn’t like to eat / I wish I was demure and sweet / I wish I was a bolder girl / I
                wish I were a younger girl.” Two Guests per show, especially MALE
                TEACHERS in drag.
            5) POSSIBLE CHANGE IN LYRICS from 1965 version (?): “I wish I were a
                neater girl / I wish I were a sweeter girl / I wish I were a bolder girl / I wish I
                were an older girl / I wish I were a younger girl”.
            6) Include Cinderella in final choreography as she receives the last invitation to
                be distributed.
            7) As the chorus sings the final two measure, end with all holding invitations in
                right hand, extended into air (see Asian Tour clip).
     As song ends, add lines:

     Stepmother (calls loudly and impatiently): Cinderella?!?
            Stepmother enters through Dress Shop door R. carrying two small boxes in her
            right hand.
     Stepmother: Cinderella, whatever are you holding?

     Cinderella: It’s an invitation. The Prince is giving a Ball!

     Stepmother: Give that to me! Imagine, YOU receiving an invitation to the Ball.
            Impossible! Come along home now. You’re cluttering up the street. And, take
            these packages!

     # 4 “Cinderella March” as written.
             As the “Cinderella March” begins, Portia and Joy exit the shop and each hand
             Cinderella several progressively larger sets of boxes.
             All walk from R to L, circling DL to DR (repeat circle as necessary)
             The black mid Traveler curtain descends.
             The two piece Cinderella enters L to LC, guided by unseen stagehands behind
             the set pieces.
              When set is in place, all enter through door RC.
Characters:    Cinderella
               All Townspeople

Costumes:      See Plot for Costume #1

Choreography: Movement

Lighting:      Daylight

Props:         Invitations
               Stack of boxes

Scenery / Drops: Main Street with Castle #S2936   17’H x 40’ w
              Staircase pedestal

Sound / Special Effects: None

Act I Scene 2 Cinderella's House
         Set Proposal: Five Unit House Design
         # 5 In My Own Little Corner
         Change: Have the door continually fly open instead of the windows. Have door on a
                 manual spring action that can be operated by a stagehand behind the set piece
                 (see set design).
         NOTE: Once the Black Scrim and mid Traveler is in place, the carriage can be
         move L to R and set in place for Act I Finale.

         #6 Scene Change Music, Repeat as needed

Characters:     Cinderella

Costumes:       See Plot for Costume #1

Choreography: None

Lighting:       Warm interior

Props:          Stack of Boxes
                Kettle (attached but removable to fireplace)
                Tea cups

Scenery / Drops: Preset Black Scrim, plus preset Black Mid Traveler downstage. Carriage is
              also already in place RC, offstage as much as possible for Scene 4 entrace.
              5 Section Cinderella House

Sound / Special Effects: None

Act I Scene 3 Royal Dressing Room
         Staircase Unit moves offstage L.
         House/FIreplace Unit and Royal Sitting Area spins R to L DC. Unit is spun by stage
         hands dressed as guards.
         Dining Room Unit moves R, guards remove walls, table and chairs from platform.
         Door Unit moves offstage R.
         Once set is in place, we are in the Royal Dressing Room.

         Suggestion for Opening of Scene: Have a group of servants seen singing in the center
               door unit with the King derisively mimicking them (Asian Tour clip).

         #7 “Your Majesties Dance” – Some sections could be repeated if needed

         Suggestion for “Your Majesties Dance”: Use maids and waiters with silver trays
               See YouTube clips for suggestions:
         Or from “Annie”
         #8 “Boys and Girls Like You and Me”

         # 9 Scene Change – do the change with music.
         Royal Dressing Room Unit spun around L to R.
         Staircase Unit moves onstage from L.
         THEN, entrance of Herald and lines.

Characters:     King
                Waiters or Waitresses – Dancers
                A small Group of Townspeople

Costumes:       See Plot for Costume #1 and #2

Choreography: Dance for “Your Majesties”

Lighting:       Warm Interior

Props:        Food Props glued to Silver Trays, Decorations, Garlands
              Royal chairs attached to set base,
Scenery / Drops: Black Scrim
              Section 1 and 2 of Cinderella House, reversed

Sound / Special Effects: None

Act I Scene 4a Cinderella's House – Exit of Stepmother and Stepsisters
      Use only Door Unit, Fireplace Unit, Wall Unit and Stair Unit.
      Note: Additional flying pumpkin prop outside of door on Unit #1 Platform RC must
      be in place.
      Note: Required props must be in place on the table: Gloves, curls (?), ribbons, fan,
              lorgnette (?), reticule, handkerchief, three small bouquets of flowers.

      #10 Reprise: “Corner” into “Fol-de-rol”

      Suggestion: After Stepmother and Stepsisters leave, have door remain open as
             Cinderella continues scene. This allows Godmother to enter the threshold
             unnoticed and eliminate the “magic entrance” in the script.
      Cut necessary lines on Pg. 26.

      #11 “Impossible” – with Singing Mice??? RC on platform with pumpkin.

Scene 4b Cinderella’s House – Scene with Godmother
      Special Effects Required:
             1) Fireplace lights up
             2) Flowers pop out of vase
             3) Chair moves across stage for Godmother to sit in.
             4) Broom gleams with mini-lights

      The Japanese Version clips are a very good reference: Clip # 6

Scene 4c The Transformation
      Add Dialogue: Before Transformation, have Godmother say “Close your eyes and
             wish with all your heart”.

      #12 The Transformation
             Play mm. 1 – 13, cut mm. 14 – 47 unless needed to get set off stage (no visible
             Carriage must enter at m. 48

      Sequence, including Proposed Special Effects
            1) House Units move offstage “guided” by Godmother’s magic wand. Door Unit
                offstage R, Fireplace, Wall and Stairs Unit offstage L.
            2) Godmother follows offstage and out back of the stage to DR, changes into
                elegant ball cape.
            3) Pumpkin glows and flies up and offstage R from platform
            4) Heavy smoke from R
            5) Mid Scrim rises, revealing Night Stars drop at C with drop Castle Set
                projection. Carriage is also in place and moves C on cue.
            6) Godmother enters DR with wand, indicating Carriage entrance at C in front of
                Starry Night drop.
            7) Carriage enters R to C with 4 Horse Singers and 2 Coachmen in attendance.
            8) Coachmen drape elegant ball cape around Cinderella, add tiara and slippers.
         Dialogue Change/Addition: After Page 31, insert these lines (originally from Act 2,
                Scene 1)

         Godmother:      Now, you must go!

         Cinderella:     Aren’t you coming with me?

         Godmother:      Heavens, no! I’ve been to so many of these things I couldn’t stand
                         another. Furthermore, all I can do is give you your wish. How it turns
                         out from here is up to you.

         Cinderella:     But, I’m afraid to go there all by myself.

         Godmother:      You needn’t be except for one thing: Do not stay beyond twelve o’clock.
                         See that you are in the coach and off for home before the clock strikes

         Cinderella:     Why is it so important that I leave before midnight?

         Godmother:      You just obey and don’t ask any questions!

         Cinderella:     Oh Godmother, thank you! Thank you, it’s wonderful!

         #13 “It’s Possible” Finale Act One
                  Music Suggestion: Add singing horses (harmony) as in Asia Tour version.
                  Staging Suggestion: Carriage moves C to L, Godmother dancing behind it as
                  Main Curtain descends.

Characters:      Cinderella
                 3 or 4 Horses
                 2 Footmen
                 2 Little Singing Rats

Costumes:        See Plot for Costumes #1 and #2

Choreography: None

Lighting:        Warm Interior
                 Magical Transformation – Night with Stars

Props:           Gloves
                 3 Bouquets of Flowers
                 Kettle (attached to fireplace)
                 Tea cup
                 Large plastic pumpkin – will need to glow from within and fly into R wings
                 Cinderella’s Crown
Scenery / Drops: Black Scrim lifts to reveal Black Mid-Traveler with Stars
              4 piece Cinderella House (no Dining Room), Unit #1 Platform set with Pumpkin,

Sound / Special Effects:
              Fireplace lights up
              Magical vase with flowers
              Moving chair
              Magical lit broom
              Pumpkin glows from within, flies into the wings
              Horse whinny
              Magic whoosh flourish


Act II: Scene 1 Outside the Palace – CUT! BEGIN WITH SCENE 2


Act II Scene 2 Ballroom
         # 14 EntreActe: Play m. 1 – 17, then cut to #16 Gavotte

         Lights up on Ballroom on tympani roll, harp glissando as curtain opens. Applause!?!
         Dancers are frozen in tableau and begin dancing after the Gavotte mm. 1-2 intro.
                   This scene is choreographed with dialogue occurring throughout.
         The little scene between the Clumsy Man and Stepmother could be expanded a bit using
                   dialogue from the Japanese version?

         #17 Cinderella’s Entrance – Music needs to be timed with Dialogue. Gavotte music
                returns at the end of this number.

Characters:     Cinderella
                Clumsy Man
                Women and Men at the Ball – Dancers
                Servants of the Court

Costumes:       See Plot for Costumes #1, #2 and #3

Choreography: Gavotte
             See YouTube Clip of Julie Andrews version – Clip #4

Lighting:       Warm, Romantic
                Spot on Cinderella when she enters ?

Props:          Money for Stepmother
                Fans for non-dancing women

Scenery / Drops: Stationary Staircase Upstage
      Columns and Candelabras          22’ h x 50 w

Sound / Special Effects: None

Act II Scene 3 Royal Garden
         Scrim drops, perhaps with some flower set pieces sliding in DR.
         Upstage lights very dim.

         #18 Ten Minutes Ago
         At the end of the song during the brief dialogue, the Stepsisters enter LS and observe the
         action prior to

         #19 “Stepsisters’ Lament –
         Musical Change: Add in extra verse to “Stepsister’s Lament” from 1965 version.

Characters:      Cinderella
                 Ensemble is frozen in background behind Scrim

Costumes:        See Plot for Costumes #1, #2 and #3

Choreography: None

Lighting:        Romantic Night DC
                 Clock Projection on Scrim reading 11:40
                 Very dim lights on ballroom behind scrim

Props:           No additional

Scenery / Drops: Black Sharkstooth Scrim          20’ h x 50 w

Sound / Special Effects: None

Act II Scene 4a Ballroom “Waltz for a Ball”
         Scrim up

         # 20 Waltz for a Ball

         Three Parts to the Dance:
                Dancers alone
                Cinderella and Prince alone with chorus singing, surrounding the couple.
                Entire Ensemble – King and Queen “break in” on the young couple, Prince
                          “presents” Cinderella to the Royal Couple. The King dances
                          with Cinderella and Queen dances with Prince, then the Young Couple
                          finish the Waltz with the entire ensemble.

Characters:      Entire Ball Ensemble

Costumes:        See Plot for Costumes #1, #2 and #3

Choreography: Grand “Waltz for a Ball”
             First section of Japanese Version is good Clip #8 (7 couples – notice the timing
                       of the lifts)
             Second and third sections refer to the Julie Andrews clips Part 5 – great tempo!
             I prefer for staging purposes to have Cinderella and Prince enter and dance,
             all others singing.

Lighting:        Warm and Romantic

Props:           No additional

Scenery / Drops: No additional

Sound / Special Effects: None

Act II Scene 4b Royal Garden
After Applause, Cinderella and Prince walk DC or DR

         # 21 Waltz Underscore

         Scrim down, perhaps with some flower set pieces sliding in DR.

         # 22 Do I Love You Because You’re Beautiful

Characters:     Cinderella
                Ballroom Ensemble frozen behind scrim

Costumes:       See Plot for Costumes #1, #2 and #3

Choreography: None

Lighting:       Romantic Night DC
                Clock Projection on Scrim reading 11:50
                Very dim lights on ballroom behind scrim

Props:          No additional

Scenery / Drops: Black Sharkstooth Scrim        20’ h x 50 w

Sound / Special Effects: None

Act II Scene 4c Royal Garden with transition to Ballroom

         # 23 Twelve O’ Clock

         Scrim up on cue.
         Make sure once Prince follows Cinderella up stairs and retrieves slipper that he then
                comes DC and holds slipper (in air or next to his heart) for effect.

Characters:      Cinderella
                 Entire Ballroom Ensemble

Costumes:        See Plot for Costumes #1, #2 and #3

Choreography: None

Lighting:        Romantic Night DC
                 Clock Projection on Scrim reading 12:00 – refer to Japanese YouTube Clip 9 for
                          a visual.
                 Very dim lights on Ballroom behind scrim
                 Lights rise on Ballroom as scrim rises
                 Spot on Prince as he ascends the staircase and descends with the glass slipper

Props:           One Glass Slipper

Scenery / Drops:
      Columns and Candelabras            22’ h x 50 w

Sound / Special Effects: Chiming Bell (12 times)


SET CHANGE: Move House Units into place (no Dining Room Unit).
            Drop the Black Scrim or Black Mid Traveler (TBD)

         # 24 Prelude to Act Three – We will probably need to play the entire piece to allow
                 for the major scene change. A possible cut could be made mm. 45-84.

         # 25 Cut the Curtain Music – Act Three

Possible staging during Set Change: Have Ball Guests cross in front of Main Curtain,
       “returning home” from the Ball.

Act II Scene 5 (OLD ACT III) Cinderella's House
         STAGING REQUIREMENT: Because we won’t have much time for a costume change,
               we need to stage this later that evening after the ball ends. The Stepmother and
               Stepsisters will be arriving home in their ball gowns as the House Units are in
               place and the Scrim or Mid Traveler is dropped. Only Cinderella will require a
               quick costume change!

         # 26 When You’re Driving Through the Moonlight – Suggested cut mm. 43-52 (sing
                the beat four notes in m. 52)

         #27 A Lovely Night

         #28 Coda – A Lovely Night

         After scene, House Steps Unit 5 move offstage DL, House Door Unit 2 moves offstage
         LR, and House Fireplace Unit 3 and Wall Unit 4 spin into place.

Characters:     Cinderella

Costumes:       See Plot for Costumes #1 and #2

Choreography: Minimal

Lighting:       Atmospheric evening, brightening during the song

Props:          None

Scenery / Drops: Rustic Bench DC
              House Units 2, 3, 4, 5
              Either Black Scrim or Black Mid Traveler (TBD)

Sound / Special Effects: None

Act II Scene 6 Royal Dressing Room
         #29 Underscore – Do I Love You?

         #30 Reprise – Do I Love You?

         SUGGESTED CHANGE: Have #30 start as written with Chris and Queen.
              Drop lights to two spots on Chris and Queen DC.
              At m. 6, low light on two dancers dressed as Chris and Cinderella RC.
                      See Japanese version at:
                At m. 30 duet harmony Chris/Queen.
                At m. 38, Cinderella enters RC and Queen exits behind Set Unit.
                Spots on Cinderella/Chris.
                At m. 46, Cinderella sings lyric associated with the music
                At m. 62 Chris/Cinderella sing final lyric in harmony.

         #30 Reprise – Start at m. 36 for Scene Change Music, followed by

         #31 The Search

                After scene, House Units 4 and 5 move offstage DL.
                Black out.
                Town Square drop descends.
                Lights up
                Guards enter with either a stool for the potential princesses to sit on or a footstool
                for princesses to place raised foot when trying on the slipper.

Characters:     Prince
                2 to 4 Royal Guards
                2 Dancers dressed as Cinderella and the Prince

Costumes:       See Plot for Costumes #1 and #2

Choreography: Ballet duet for dancers to #30 Do I Love You Reprise

Lighting:       Warm interior
                Switches to dark romantic, with silhouette backlighting on dancers.

Props:          Glass Slipper on a Cushion

Scenery / Drops: Either Black Scrim or Black Mid-Traveler (TBD)
              Section 3 and 4 of Cinderella House, reversed

Sound / Special Effects: None

Act II Scene 7a Town Square
         STAGING REQUIREMENT: This scene is entirely without written dialogue. The Director
         and choreographer will need to work out staging, which is accompanied by background
         music. A clip of this music and some staging ideas from the Japanese production is
         found at:

         Some additional ideas from the 1957 version are at:
         STAGING SUGGESTION: At the end of the music, have the Orchestra play a brief bit of
         the “Cinderella March” and have Stepmother and Stepsisters enter the Town Square for
         the next scene. This will eliminate a cumbersome set change.

Characters:      Herald
                 Royal Guards
                 Potential Princesses

Costumes:        See Plot for Costumes

Choreography: Movement

Lighting:        Daylight

Props:           Glass Slipper
                 Stepstool OR have chair/stool for sitting

Scenery / Drops: Main Street with Castle #ES7227             17’H x 40 w

Sound / Special Effects: None

Act II Scene 7b Stage Scene in Town Square
         By staging the scene in the Town Square rather than in Cinderella’s house, some
         dialogue will need to be adjusted (see Master Script).

         Blackout after scene. Night Forest Drop and Scrim lowered.

         # 32 Transition to the Palace

         Stage first four lines between the Prince and the Herald DL as the
         Night Forest curtain descends. Have Guards “conveniently” leave the stool DL for slipper

Characters:      Herald
                 Royal Guards
                 Some Townspeople ?

Costumes:        See Plot for Costumes

Choreography: Movement

Lighting:        Daylight

Props:           Glass Slipper
                 Cushion with stepstool OR have chair/stool for sitting

Scenery / Drops: Main Street with Castle #S2936           17’H x 40 w

Sound / Special Effects: “Whoosh” indicating Godmother’s arrival

Act II Scene 8 Forest Scene
         ADDED MUSIC - At the moment that “The Slipper Fits” we will add the following
         music as in the Japanese version:
         # 12 The Transformation music mm. 1 – 11, then cut to
         # 30 Reprise – Do I Love You and play mm. 54 – 69, adding vocal duet at m. 62 as
                in Act 2 Scene 6

Transition to Final Scene:
        Cinderella and Chris exit.
        Blackout. Night Forest Drop up. Black Scrim is still down.
        #33 The Slipper Fits
                On m. 6 beat drumroll
         Trumpet calls are #33 m. 5, with drum rolls between.
         Herald announces the “Hear Ye! Hear Ye! Announcing the Royal Wedding of the
         Crown Prince! His Royal Highness…Her Royal Highness…

         As this is being announced, common folks enter from the wings DR and DL. Small
         “invitations” are distributed to the crowd. During the final “Christopher Rupert…” the
         Stepsisters enter DR and snatch an invitation from one of the kids and read the
         announcement. When the Herald says “Herman Gregory James’ Royal Wedding”
         Orchestra plays mm. 5-6.
         The Herald says “The bride’s name is…”
         The Stepsisters wail in disbelief “Cinderella?!? Ma!!!” and run off DR (for fast costume
                   change!). This stage element is only possible if the timing works.
         The Herald says “Congratulations! Everyone is invited!”
         Harp glissando

Characters:      Cinderella
                 Two Royal Guards?

Costumes:        See Plot for Costumes #1

Choreography: None

Lighting:        Atmospheric evening, pinpoint spot on couple when they kiss

Props:           Glass Slipper

Scenery / Drops: Night Forest #ES2565
              House Door Unit (#5)

Sound / Special Effects: Not sure

Act II Scene 9 Ballroom
         # 34 Finale – The Wedding

         Common folk walk DR and DL (from audience aisles?), to edges of the stage.
         Lights up on Ballroom.
         Scrim rises.
         King, Queen, Attendants and Minister are RC
         Royal folks enter from staircase, dressed up guests enter from DL/LC.
         The final entrants from the staircase should be Flower Girl, Ring Bearer, the Stepsisters
         and Stepmother.
         Chris crosses L to R, bows to father and kisses mother.
         Cinderella enters via staircase to C, met by Chris, minister crosses to staircase and up
                 a couple of steps.
         Cinderella and Chris walk back to staircase, face each other.
         Minister says “Dearly Beloved”

         Harp glissando

         Light effect as Godmother is seen at top of staircase, sings “It’s possible…”
         Split final vocal lines as follows as in Asia Tour version.

         m. 30 Christopher only, Chorus singing “Ooohs” in harmony
         m. 38 Cinderella only, Chorus singing “Ooohs” in harmony
         m. 46 Unison Duet, Chorus singing “Ooohs” in harmony
         m. 54 Full Chorus in harmony

Characters:      Entire ensemble

Costumes:        See Plot for Costumes #1, #2, #3 and #4

Choreography: Movement

Lighting:        Warm interior, changes to glowing romantic

Props:           White and silver royal wedding banners

Scenery / Drops:
      Columns and Candelabras ES7441              22’ h x 50 w     $395.00

Sound / Special Effects: Smoke/light flash for Godmother’s appearance

No. 35 Bow Music
       Repeat mm. 9 – 39 as many times as needed
       Go on to 41-55, add in rhythmic pattern in score 3 times at m. 56
       Have Ensemble sing lyric “In the arms of my love…” at m. 57, playing mm. 57-76
       Play and sing this section again! – MAYBE NOT
       Finish with orchestra m. 77 to end.

To see how this works, go to:


Be sure to have actors wave to audience as the final curtain closes!

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