A 2013 adaptation on Broadway starred Laura Osnes and Santino Fontana, with a new book by Douglas Carter Beane; since then, it has been revived in the US and internationally.

He told Rodgers and Hammerstein that CBS was also seeking a musical project and had already signed Julie Andrews, who was then starring in My Fair Lady on Broadway.

Meanwhile, the King and Queen prepare for the big celebration ("Royal Dressing Room Scene"), and the servants discuss the food and other planning ("Your Majesties").

She magically transforms the girl's plain clothing into a beautiful gown and her little mouse friends and a pumpkin into a glittering carriage with footmen ("Impossible; It's Possible"); Cinderella leaves for the Ball.

The stepmother and stepsisters are now very solicitous and help Cinderella prepare for her wedding; she and the Prince marry with respendent pomp, as her Fairy Godmother observes that "impossible things are happening every day".

The 56 performers, 33 musicians and 80 stagehands and crew were crammed into the small studio together with four giant RCA TK-40A color TV cameras, a wardrobe of up to 100 costumes, over half a dozen huge set pieces, special effects equipment and numerous props.

[16] It starred Andrews in the title role and Jon Cypher as The Prince, and featured Howard Lindsay as The King, Dorothy Stickney as The Queen, Edie Adams as the Fairy Godmother, Kaye Ballard and Alice Ghostley as stepsisters Portia and Joy, Ilka Chase as the Stepmother, and Iggie Wolfington as The Steward.

[23] The names of the stepsisters were changed from the original production, the Royal Dressing Room Scene was omitted, and the fairy godmother reveals herself immediately, instead of resisting Cinderella's first wishes to attend the ball.

[4] The 1965 version was directed by Charles S. Dubin[23] with choreography by Eugene Loring and recorded on videotape (at CBS Television City in Hollywood) for later broadcast.

The cast featured Ginger Rogers and Walter Pidgeon as the Queen and King; Celeste Holm as the Fairy Godmother; Jo Van Fleet as the Stepmother, with Pat Carroll and Barbara Ruick as her daughters Prunella and Esmerelda; and Stuart Damon as the Prince.

[26] The successful 1993 CBS adaptation Gypsy, starring Bette Midler and produced by Craig Zadan and Neil Meron, revived interest in TV musicals.

The racially diverse cast starred Brandy as Cinderella, Houston as the Fairy Godmother, Bernadette Peters as the Stepmother, and Paolo Montalban as the prince, with Whoopi Goldberg as the queen, Victor Garber as the king, Jason Alexander as Lionel, the herald.

Disguised as a peasant, the Prince (feeling isolated in the castle) wanders in the marketplace (worrying his herald, Lionel), meets Cinderella, and they find each other charming.

At the ball, embarrassed by questions about her family and background, Cinderella escapes to the garden in tears, where the Fairy Godmother appears for moral support.

Yana played Cinderella, with Tommy Steele as her best friend Buttons, Bruce Trent as the Prince, Jimmy Edwards as the King, Betty Marsden as the fairy godmother, Kenneth Williams and Ted Durante as the Ugly Sisters, and Godfrey James as Dandini.

[4] The Los Angeles Civic Light Opera produced the show in 1990 featuring Steve Allen, Jayne Meadows, and Rose-Marie.

It revived the production in 2004 with Eartha Kitt as The Fairy Godmother, Sarah Uriarte Berry as Cinderella, Christopher Sieber as The Prince, John "Lypsinka" Epperson as The Stepmother, Dick Van Patten as The King, Renée Taylor as The Queen, Lea DeLaria as Joy and Ana Gasteyer as Portia.

The show then went on to several cities in China, including Xian, Zhengzhou, Chongqing, Shenzhen, Gunagzhou, Shanghai, Beijing and Hong Kong and toured in Thailand, Singapore, Malaysia, Korea, and Japan, playing into mid-2009.

An all-female production of the musical in Japan in 2008 featured J-Pop group Morning Musume and veteran members of the Takarazuka Revue.

[49][50] Mark Brokaw directed the production, with Josh Rhodes choreographing, and the cast included Laura Osnes in the title role, Santino Fontana as the Prince, Victoria Clark as crazy Marie/the Fairy Godmother, Harriet Harris as Ella's stepmother, Peter Bartlett as the Prime Minister, Ann Harada and Marla Mindelle as stepsisters Charlotte and Gabrielle, and Greg Hildreth as Jean-Michel.

He wrote that the broadcast received an "extraordinary range of reactions; it was either unreservedly enjoyed, rather angrily rejected or generally approved, subject to significant reservations".

"); about errors in "the most elementary kind of showmanship"; about costume ("couldn't Cinderella have been dressed in a dreamlike ball gown of fantasy rather than a chic, form-fitting number?

Theater historian John Kenrick called it a "clumsy remake" of the musical but commented that Bernadette Peters' "shtick trying on the glass slipper is hilarious".

[61] The New York Times praised the performers (Montalban has "an old-fashioned luxurious voice"; Jason Alexander "provides comic relief"; Goldberg "winningly blends royal dignity with motherly meddling"; Peters "brings vigor and sly comedy") but commented that the musical "was always a pumpkin that never turned into a glittering coach ... the songs are lesser Rodgers and Hammerstein ... it doesn't take that final leap into pure magic.

[65] Ben Brantley of The New York Times called the 2013 Broadway production a "glittery patchwork of a show" that "wants to be reassuringly old-fashioned and refreshingly irreverent, sentimental and snarky, sincere and ironic, all at once."

[45] The Financial Times praised the cast, especially Osnes, the costumes and the choreography and opined that "the production is an absolute joy, marred only by occasional slowness of pace.

"[66] Richard Zoglin, writing for Time magazine, noted that the new production is "brightly colored, high spirited and well sung", but compared it unfavorably with the "emotionally alive" 1957 broadcast.

[67] A reviewer from the Chicago Tribune wrote: "The fundamental problem with ... Beane's perplexing, wholly unromantic and mostly laugh-free new book ... is that it denies the audience the pleasure of instant reversals of fortune. ...

[54] On the other hand, the reviewer from USA Today liked the production, commenting that "Osnes and a gifted supporting cast make this fairy tale very much their own – a scrumptious trifle that, for all its hokey moments, will charm theatergoers of all ages.

"[50] An Associated Press review praised Beane's script and wrote that it "crackles with sweetness and freshness, combining a little "Monty Python's Spamalot" with some "Les Misérables".