Whenever I tell people that I dream of playing as many versions of Cinderellaās stepsisters as possible, I have to mention the mildly deranged illegal production of Cinderella I was in when I was 12.
I used to go to this small drama camp as a kid that was entirely run by one nice lady, I believe named Carol. We would put on abridged minimalist versions of popular musicals at a local church with only one week of rehearsal. These werenāt licensable junior versions. Carol created them herself.
She wrote the scripts to include the major plot highlights and famous lines from the various musicals and she arranged and accompanied all of the songs on the piano herself. We did Annie, Mary Poppins, the Wizard of Oz, and, the year before I came, Peter Pan. These shows were definitely illegal, but they were so small that nobody really noticed, and they were a ton of fun. The camp was also extremely affordable, so nobody was getting rich off of it.
But Cinderella, my final production with them, was next-level. When I arrived for the first day of camp, I was curious to see if it would be the Disney version or the Rodgers and Hammerstein version.
It was both. And neither.
Carol somehow wrote an almost entirely original book for Cinderella that used the best songs from both the Disney and R&H versions. That meant that I, as a stepsister, got to sing the āStepsistersā Lament,ā a peak song if you ask me, but adorable little kids playing mice also got to sing āCinderelly, Cinderelly.ā
The one thing about combining both versions is perhaps an overemphasis on the Fairy Godmother, because the songs āBibbidy Bobbity Booā and āImpossibleā are both no-brainers to include. But somehow, things worked out perfectly there, too, by splitting the role.
See, we didnāt just have a Fairy Godmother.
We also had a Fairy Godfather.
I was 12, so I didnāt quite get the joke, but as an adult, Iām obsessed with the implication that Cinderella got her dress, slippers, and carriage through some kind of vague affiliation with the mafia.