Brandy. Whitney. Bernadette. It's Cinderella... Again
Wednesday, March 11, 2015 at 7:45AM
Cinderella Week continues with Andrew Kendall on a true event in showbiz history...
On our journey through Cinderellas we take a stop in 1997 for an unlikely entry in the canon. Unlike the animated version it did not change a cinematic form, nor like the Julie Andrews version did it launch a star. When the 1997 TV production of Rodgers and Hammerstein’s Cinderella premiered in 1997 it was hailed as one of the most successful TV musicals in years and audiences did, love it, 60 million of them. But, it has endured as little more than a footnote on the résumé of its fêted cast and crew.
This would be the second remake of the Rodger and Hammerstein’s Cinderella written for Julie Andrews in 1957 (the first remake a Lesley Ann Warren version in 1965). And, still, I’d swear on the altar of all things magical that this is the finest adaptation of the Cinderella story. Myriad reasons, but principally because this Cinderella has more on its mind than just the girl at the centre…
Tim has already admitted that an essential issue with the 1950 Cinderella, and really any Cinderella, is her potential for being charming but somewhat dull. This television version may seem to be doing itself no favours by casting pop sensation of the 90s (and not quite an actress) Brandy Norwood in the lead role. Unlike Julie Andrews, she's no natural thespian but her general diffidence in character on screen is an integral part of this version's take on the story. In this adaptation from Robert Freedman (recent Tony winner for writing A Gentleman's Guide to Love & Murder), the Prince (disguised as a pauper to experience the real word) and Cinderella meet each other by happenstance in the town and are charmed by each other, both of them longing to leave the lives they're currently living. This Cinderella is less interested in ascending to royalty, specifically and more focused on finding somewhere away from her Stepmother, where she's appreciated. The Prince is facing his own issues of a King and Queen who want him married sooner, rather than later.
Not just changes to the libretto, this adaptation (like the 1965 one) is significant for adding other Rodgers and/or Hammerstein songs to the score. In this version, a trio. “The Sweetest Sounds” for the Prince and Cinderella (from No Strings, also about a relationship between a black budding starlet and a love interest of another ethnicity), “There’s Music In You” for The Fairy Godmother (from Main Street to Broadway) and “Falling In Love with Love” from The Boy from Syracuse. They all work, but the the latter is my favourite for a specific reason. So, I may as well get to it.
BERNADETTE PETERS!
Why, yes. I did choose this particular incarnation of the film as much as for my belief in it being top tier Cinderella but even more so for the chance to gush at Bernadette Peters’ excellence. "Falling in Love with Love" is a mere sliver of a song but becomes a key part of Peters indomitable performance here. Mary Rodgers was reportedly, initially, against the inclusion of this particular number in the score until she saw Bernadette take on it. And, why not? The number’s conceit of the Stepmother’s advice to her girls that when it comes to courtship, “This isn’t about love! It’s about marriage!” is a hoot but the pleasure of this number, and the performance, runs deeper.
It is not merely Bernadette fanaticism that has me arguing that she’s best in show. The Stepmother's de facto existence as the tale's villain has potential for sincere dramatic tension, but is rarely played that way. Too often the role is regarded as evil without cause. There is not much dramatic tension in the A plot of any Cinderella tale, but here the B plot of the family is home to delicious dramatic tension built from the references to Cinderella’s dead fathers and Peters knowing glances at her, palpably worried at the threat she poses to her girls. This is still a production meant for children, so the gradations come from performance more than text but it is there.
It all comes to a head in the film’s finest scene which is only peripherally about romance. The ladies come home after the ball (disastrous for the Stepsisters, wonderful for Cinderella) and reminisce about the possibility of “A Lovely Night” that could have been with the prince. The dramatically ironic moment as Cinderella "supposes" on what the ball would have been like finds its climax when a fateful curtsy cues the Stepmother in to Cinderella’s identify as the anonymous princess. (It’s a lovely callback to Lady Tremaine's realisation in the animated version). It's a moment that manages to eke out legitimate tension from a slight moment, and 90% of that is owed to Bernadette.
But, lest this lopsided praise song suggests this Cinderella is a Maleficent-esque tale where the Stepmother is the lead, let me confess this piece truly seems to exist as an ensemble. From Whoopi Goldberg's delightfully officious Queen Mother to Jason Alexander's harried steward to Veanne Cox's gigging Calliope to Victor Garber's noncommittal King, director Robert Iscove wants to give every one their moment. This Cinderella feels generous and kind and charming in the best of ways.
It is a charm which builds when its ethnically diverse cast is considered. Filipino newcomer at the time Paolo Montalban sings beautifully as the Prince and, yes, he and Brandy are the weakest of the cast (if only on a scale) but the melange of races on display harkens to the film's theatrical roots. Theatre has always been more willing to incorporate blind casting than film, and though I've since heard Cinderella's casting referred to as gimmicky where else but a magic kingdom can a black woman and a white man make a Filipino son with a white Steward who speaks with an (inexplicable) pseudo-Italian accent?
The film never questions the logics of its ethnicity, and neither did I as a child. Is it treacly to surmise that aspect of it as an example of impossible things happening everywhere? Probably. But, the film's opening of Whitney Houston (also a producer) as the Fairy Godmother telling us impossible things are happening everywhere is a welcome encouragement to succumb to the world offered.
This Cinderella is gorgeous with its Emmy winning Art Direction and Emmy nominated Costume Design and Hairstyling. But it’s brightly coloured sheen and spiffy choreography (courtesy of Rob Marshall's Emmy nominated work half a decade before Chicago) is not trying to hide a centre that's flat. It's the same (very) simple story, but simple aspects like this Cinderella's mourning for her dead father, or the Prince actually recognising Cinderella before even trying on the shoe make it even more effective.
This Cinderella does not suceed by overreaching, though with changes to the tale it is still simple at its heart and ultimately it aims to charm and entertain. Its closing “There’s Music In You” message is built on being heartwarming, but not disingeniously so. And it manages to do all this while being satisfying and, yes, magical.
And that is truly the best we can hope for from any Cinderella.
Reader Comments (16)
I never heard of this version, and it sounds like a hoot!
Whoopi and Garber's marriage seems like a truly a laugh out loud worthy thing.
I remember watching this version! I love Bernadette Peters in this (well, in everything)-- her version of Falling in Love with Love is amazing.
I love, love, love the Julie Andrews and Leslie Ann Warren versions of R&H's Cinderella... but consider this one an unnecessary and unrewarding remake. It's miscast, dramatically inert, and has the weakest performances of the three. The book (adaptation/script) is flat-out terrible compared to Hammerstein's original.
Maybe I was just too old when this version hit, but to me it will always be merely a footnote to the 1957 and 1965 versions.
I've never seen the first two, but this is the version I grew up on! The colorblind casting was always something I admired (and weirdly never questioned even as a kid). Bernadette is aces and so are Natalie Desselle and Veane Cox as her daughters.
I remember watching this when it aired and thought Brandy was fine (I liked her then and still do, but her voice is a bit thin, especially when compared with Julie Andrews), but the real stars were Bernadette and Whitney. Honestly, Whitney's "Impossible" may be my favorite version of that song.
While I prefer the Julie and Lesley Ann Warren versions, which I hope will be showing up in the series, this one is terrific for all the elements not named Brandy.
Brandy's first album was the first CD I ever bought. I love(d) her dearly. So I openly cop to my bias when I say, how much I love, love this version of the story. I had a friend in college who was a devoted fan of the Lesley Ann Warren version and we went toe to toe a few times comparing them. She said I'd never find anyone who'd agree that this is a good version. Now if only I had her email address.... :)
OMG! I shamelessly loved this as a kid...like...I was 12 when this came out and I had this crush on Brandy and so I lost my shit when this was announced. It's such shameless fun! I still have such fond memories of this, and now I want to watch it again :-P
I still remember seeing this with my family live on TV as we sat down to have dinner. Really enjoyed it and the casting was just wonderful.
My favorite by far is Julie's version, and Leslie Ann's is wonderful. The best part about this one is Whitney's magnificent diva presence--she was a true star. And there are some lovely effects. Paolo is very easy to look at.
This is not a R&H revival where the music and the musicians ( singers are musicians after all) are important. And for that it is a shame. And I am glad Mary Rogers approved, but I thought Falling in Love with Love was a little misplaced even though Bernadette could sing it as well as anyone.
What makes this version good (not great) is its accessibility to a generation of kids (before we called them Millennials). Cinderella is not a princess story; the cast diversity is wonderfully fitting. It is the proof 18 years ago that we now living in a different world. All the Grimm Fairy tales get re-made for each generation. I hope this next one re shapes the tale again.
I loved this version too. The Art Nouveau sets, sweet and sincere Brandy, Bernadette's marvellous song, Whoopi and Victor as a couple. Fairy tales are better with the "missing mother" included. The Prince is a more well rounded character because he's part of a family.
The part that used to trouble me about this were the lines
"Do I love you because you're beautiful
Or are you beautiful because I love you?"
And I used to think, that's wrong, just wrong.
What I remember most about this was the endless promotion, ads, trailers etc., that led up to the broadcast. It never ended and I don't think I watched it on the first night, I was so sick of it.
I'm a LAW lover myself (that is the one I grew up on) and it still rules for me. Celeste Holm was so wonderful as the fairy godmother.
I was 17 years old when this was first broadcast and in love with ALL things BRANDY from her music to "Moesha," so this was appointment viewing for me. I remember the production being huge deal at the time because of the involvement of so many of the time's big name stars and the multi-culti casting, and though it may not be the best adaptation, there certainly is much to admired.
Aside: Because this probably is the only exposure that a large swath of people ever got of Brandy's singing, there is this misconception that her voice in "thin" or "weak" (transposing those legit soprano songs for a R&B/pop alto voice did her no favors in that respect). However, do a YouTube search for her live concert performances, and you'll change your mind.
I'm 22 and this version was a really big deal for my generation. Even I, who was pretty apathetic to it overall, remember seeing it as a kid.
ghosh need to see this vershion of the movie pronto only watching it though for bernadette peters