Rodgers + Hammerstein’s Cinderella revels in its seemingly blunt and simple naivete. It’s so bold as to make a scene where its lead preaches about kindness and everyone clapped for it. But as I worked on this show, and found insight from other actors about how they see this world, Cinderella transformed into anything but a plain country bumpkin. R&H’s Cinderella was adapted from a much shorter animated story, well-renowned for its poignant simplicity. Plenty of other simple stories have followed this trajectory into the modern day, but as Cinderella is given space to grow, to reflect on its place in a changing world, the contribution to its own conversation has matured. We are treated to a story of love, and class, and family, and with new messages that call to be heard.
Part 1: Beauty
If I were to ask you what Disney’s first adaptation of Cinderella was about on a thematic level, what would you say? You might think of hard work, or inheritance, or staying true to yourself. For now, think about how Disney’s Cinderella spends its energy asking about who is beautiful. Not a beautiful spirit, but external, aesthetic beauty. The stepfamily wears beautiful clothes, but they have ugly faces. The mice are externally ugly, but are capable of creating beautiful things. Cinderella starts out disheveled, but is made the most gorgeous character in the movie with the flick of a wand by the Fairy Godmother, who in this movie is a godly embodiment of beauty. The prince, who is less of a person, is the arbiter of beauty. Not only does he exercise this authority during his ball, but his quest to fit the glass slipper on every woman in the kingdom is a reinforcement of the power to decide who is and is not beautiful. And on the condition that Cinderella is beautiful, and through no other standard, she gets to live happily ever after.
When we look at the events of the story, we can draw a conclusion about what Disney’s Cinderella might be trying to say. Why was Cinderella the most beautiful? Well, her dress was perfectly molded against her body. People who tried the slipper could not fit it because they were trying to fit a form that was not theirs. In this way, the story suggests that everyone has their own unique form of beauty tailored to them, and happiness lies in discovering that specific and unique style. While there are many ways to read this story, you will see this may offer insight to what future iterations have to say.
The new 2013 musical is undeniably invested in beauty as well. Cinderella once again dawns her gown as the prettiest woman at the ball. There are new songs dedicated to how beautiful the prince is. Most notably however, the show opens with a chorus about how beautiful the world is, with a closing remark, “It makes you wish the world could be as lovely as it looks”. This is our first clue suggesting how the musical expands on the ideas of its source material. Right from the beginning, there is a relationship between beauty and goodness. And as the show begins, it’s implied they do not coincide.
Part 2: Exploitation
The largest plot change in R&H’s Cinderella can be explained through the introduction of Sebastian and Jean-Michel. Sebastian lies and misrepresents, aiming to convince everyone that what he asks of his companions is not worth the trouble of understanding. Jean-Michel, by contrast, is fervent with his transparency about the work and sacrifice that is required of serving others. Not only does he run a soup kitchen, but the source of his food is from those who donate. These two characters contrast each other because both of them know how to—or not to—exploit others for their own gain.
Everything about the world of Cinderella warps itself around the relationship each character has toward the power to exploit others. Sebastian believes it is natural and worth rewarding to use other people as stepping stones in pursuit of opulence. Those who agree with him participate most readily in the ridicule competition. Jean-Michel believes that exploitation is a useless tool when everyone around you is willing to serve the community. It is why he scavenges, and begs, and rallies, and inspires. When we choose not to exploit, we are granted something greater—loyalty.
When Marie, the fairy godmother, enters stage, she unifies these seemingly separate ideas around beauty and exploitation. If Ella is the most virtuous, she is now too made the most beautiful. This is what it looks like when the world is as lovely as it looks. With a flick of her wand, Marie makes the world as we wish it, so long as the pieces are already there to make it so.
Marie tells us that Ella is the first person to show generosity, charity, and kindness, and that because of this, Marie is willing to grant her gifts throughout the show. Ella becomes beautiful in this moment, but there are other canonically beautiful characters such as Prince Topher (for the details are explained throughout the song aptly named “He is Tall”). And what’s Jean-Michel, chopped liver? He’s clearly friends with Crazy Marie, so surely there is a reason she sticks around him. Surely he doesn’t not-know who Marie really is. Is he, too, not worthy of this gift of beauty? If we are left with these questions, we are forced to ask: if these characters are also beautiful, then why? What do they represent, if not generosity, charity, and kindness, that they are so closely aligned with these symbols?
If according to Disney’s Cinderella, beauty is only achievable by those who align their style with who they are, and in this show, beauty is equivalent to virtue, then we have an answer. Everyone has their own unique way of demonstrating virtue, and in doing so, expressing their inner beauty. For Jean-Michel, his righteous anger drives him to do justice. The Prince demonstrates his best virtue by listening, and seeking out the voices that must be heard. By doing so, he finds himself. Through righteousness, we make the world beautiful. Through listening to others, we hear the music inside ourselves and others.
Part 3: Music
In “The Prince is Giving a Ball”, Jean-Michel attempts to sing in concert with the town, but is shouted over by Lord Pinkleton. In Topher’s first number, “Me, Who Am I”, the lyrics are discordant. He sings out of sync with the knights, who contradict his words. But as the show continues, there is more harmony. There is more conversation and camaraderie. By the conclusion, everyone sings together for they achieved the unity sought from the beginning of the show.
To truly harmonize within a chorus, you must listen diligently to the people around you. You must align with their tune, their volume, and their rhythm. It demands care for the people around you. If we can listen, show kindness, generosity, and charity, then we may move in harmony with the rest of the world.
You may wish the world could be as lovely as it looks. But the world is complicated. It’s impossible to find such beauty. So much of life seeks to tell us there is nothing worth hearing besides the rhythm by which we walk this planet, and when we believe that to be so, we become jaded, and we resort to ridicule and exploitation. But if there is ever a doubt in your mind, just remember—that impossible things happen every day.
