RODGERS + HAMMERSTEIN'S CINDERELLA: THE COMPLETE BOOK AND LYRICS OF THE BROADWAY MUSICA

Once upon a planetoid, amid her tools and sprockets, a girl named Cinderella dreamed of fixing fancy rockets. With a little help from her fairy godrobot, Cinderella is going to the ball. But when the prince's ship has mechanical trouble, someone will have to zoom to the rescue! Readers will thank their lucky stars for this irrepressible fairy tale retelling, its independent heroine, and its stellar happy ending. Plus, this is the fixed format version, which will look almost identical to the print version. Additionally for devices that support audio, this ebook includes a read-along setting.

(Vocal Selections). "This show has guts!" proclaimed Richard Zoglin of Time magazine about this 2012 revival, which won the Off-Broadway Alliance Award for Best Musical Revival. It features music by Michael Gore, lyrics by Dean Pitchford, and book by Lawrence D. Cohen (based on the novel by Stephen King). Our folio features vocal selections for 18 songs from that revival, including: Alma Mater * And Eve Was Weak * Carrie * Carrie (Reprise) * Do Me a Favor * Dreamer in Disguise * Epilogue * Evening Prayers * I Remember How Those Boys Could Dance * In * A Night We'll Never Forget * Once You See * Open Your Heart * Unsuspecting Hearts * When There's No One * Why Not Me? * The World According to Chris * You Shine.

Family Musical Book by W.A. Frankonis Music by Will Severin and George David Weiss Lyrics by George David Weiss Characters: 5 male, 5 female, 5 children plus chorus of 6 male, 6 female (doubling possible) A delightful new spin on the classic tale set in Venice, this musical has lots of Italian spice and fire. To find love and happiness, a self reliant, strong and beautiful Cinderella must overcome a powerful amuletto d'amore to free her father from her

From every “beautiful mornin’” to “some enchanted evening,” the songs of Oscar Hammerstein II are part of our daily lives, his words part of our national fabric. Born into a theatrical dynasty headed by his grandfather and namesake, Oscar Hammerstein II breathed new life into the moribund art form of operetta by writing lyrics and libretti for such classics as Rose-Marie (music by Rudolf Friml), The Desert Song (Sigmund Romberg), The New Moon (Romberg) and Song of the Flame (George Gershwin). Hammerstein and Jerome Kern wrote eight musicals together, including Sweet Adeline, Music in the Air, and their masterpiece, Show Boat. The vibrant Carmen Jones was Hammerstein’s all-black adaptation of the tragic opera by Georges Bizet. In 1943, Hammerstein, pioneer in the field of operetta, joined forces with Richard Rodgers, who had for the previous twenty-five years taken great strides in the field of musical comedy with his longtime writing partner, Lorenz Hart. The first Rodgers and Hammerstein work, Oklahoma!, merged the two styles into a completely new genre—the musical play—and simultaneously launched the most successful partnership in American musical theater. Over the next seventeen years, Rodgers and Hammerstein wrote eight more Broadway musicals: Carousel, Allegro, South Pacific, The King and I, Me and Juliet, Pipe Dream, Flower Drum Song, and The Sound of Music. They also wrote a movie musical (State Fair) and one for television (Cinderella). Collectively their works have earned dozens of awards, including Pulitzers, Tonys, Oscars, Grammys, and Emmys. Throughout his career, Hammerstein created works of lyrical beauty and universal feeling, and he continually strove—sometimes against fashion—to seek out the good and beautiful in the world. “I know the world is filled with troubles and many injustices,” he once said. “But reality is as beautiful as it is ugly . . . I just couldn’t write anything without hope in it.” All of his lyrics are here—850, more than a quarter published for the first time—in this sixth book in the indispensable Complete Lyrics series that has also brought us the lyrics of Cole Porter, Lorenz Hart, Ira Gershwin, Irving Berlin, and Frank Loesser. From the young scribe’s earliest attempts to the old master’s final lyric—“Edelweiss”—we can see, read, and, yes, sing the words of a theatrical and lyrical genius.

A variation on the traditional Cinderella story set in a Southern swamp and with a Great Gospel Convention instead of a ball.

OF COURSE you think Cinderella was the sweetest belle of the ball. You don't know the other side of the story. Well, let me tell you...

Cast: 2m., 2w.: 1 either gender and chorus, both optional. What will happen to Cinderella at the ball ... game? That's the surprising climactic question in this contemporary Latin-American Cinderella musical, which delightfully turns the classic fairy tale on its head, telling the story from both Cinderella's and the "stepsister's" perspective. Cinderella, a newcomer from Puerto Rico, comes to visit her "stepsister," Rosa, in the United States. The catch ... Cinderella only speaks Spanish and Rosa only speaks English. Will these two girls be able to reach an understanding at the (basket) ball game? With a fairy godfather and other delightful twists to the original story, Cinderella Eats Rice and Beans: A Salsa Fairy Tale crosses language and gender barriers, weaving a subtle lesson on empathy, sportsmanship and respect. Boys and girls will be cheering in their seats. Lauded by audiences, theaters, schools, and academics, this is a groundbreaking bilingual children's musical from the award-winning team of playwright Karen Zacarias and composer Deborah Wicks La Puma. Area staging. Approximate running time: 1 hour.