10 minutes (and 60 years) ago: Lesley Ann Warren looks back on Cinderella

February 22 is the diamond, 60th anniversary of the 1965 TV broadcast of Rodgers and Hammerstein’s Cinderella. With a then 18-year-old Lesley Ann Warren In the title role, the broadcast was actually the second television presentation of the musical, a follow-up of a 1957 version Julie Andrews.

That ’57 broadcast, although a tremendous success, went out to TVs nationwide; At the time, the technology made it such that it was directly recorded in a quality that could be shown again. Audiences had to see it in full color, but all we have now is a kinescope, which is essentially made by showing a 16mm-black-white camera on a TV screen while broadcasting. As a result, the original version of Cinderella– The only Rodgers and Hammerstein music states expressly written for TV – were not yet available to look in any official capacity until decades later, when its historical nature caused a commercial release despite its shortcomings in video quality.

That’s why CBS tried to make a new Cinderella Just eight years after the first. The ’65 version was filmed in color on video tape so that it could be displayed again and again. After the home video became a situation, it also released there. For many musical theater fans, the Lesley Ann Warren Cinderella Is what comes to the fore when one thinks of the Rodgers and Hammerstein Classic.

The ’65 Cinderella An All-Star Role Division: Ginger rogers and Walter Pidgeon As the queen and king, originally Okaa Oklahoma! stage Celeste Holm As the Fairy Godmother, Tony Awards winner Jo of Fleet as the wicked stepmother, Pat Carroll (Later the voice of Ursula is in Disney The little mermaid) As one of the step -sisters, and later General hospital star Stuart Damon As the prince.

Warren was a sooner star. At the time she was actually just launching her career with a supporting role in Broadway 110 in the shadeand was enough of an unknown in which she was in Cinderella as “launch.” She would continue with a long (and ongoing) career full of iconic performances including an academy award-winning turn Victor/Victoria (appropriate opposite Cinderella Originator Andrews). She also played Miss Scarlet in Cult Classic Whodunnit Idea.

But on the occasion of the diamond anniversary of her CinderellaPlaybill recently talked to Warren about the role it all started and put her on the map. The conversation was edited for length and clarity.

Warren’s Cinderella Can currently be streamed Peacock and Amazon Prime.

When I looked back when I was ready to talk to you, I was hit how happy I was to watch it when I was a child. It was an unusual good theater training, a cast that is just a legend to a legend, which you included.
Lesley Ann Warren: Well, I wasn’t a legend at 18 – I’ll tell you so much. But boy, you are right, legend to legend. I wanted to become a dancer. It was my first love of when I was six years old. And it went on until I was about 14 or 15. Letting Ginger come into the cast was such a dream. And then of course Walter Pidgeon, and I was a member of the Actors Studio, and Jo of Fleet Was a legend there, as she was in the film. It was a phenomenal experience.

Tell me about Lesley Ann Warren at 18, when this role falls into your lap.
I have my Broadway debut in 110 in the shadeand I won the most promising newcomer award that year. And so Charles Dubin, the director of Cinderellasaw me in it. When I first went to audition, I was terrified and quite immobilized by being in the room Richard Rodgers. So they passed me on. It was Charles Dubin who said, “No, no, no. She’s only 18. She was really scared, uncertain. Please bring her back.” And they did. And this time, Eugene Loringthe choreographer, and Johnny Green, the musical director, and Richard Rodgers and Charlie Dubin were in the room, in Mr. Rodgers’ apartment. And [Rodgers] Actually, everyone asked to go to the other room and invited me to sit next to him on the piano bench. He played ‘my funny valentine’ and made me sing as he wanted it to be sung, which was a lot like it was written. No riffs, no changes. Just as he wrote it. And that’s what got me the job. It was incredible.

If I may ask you to enjoy your own ego, think about why you were the choice for this role if the session with Mr. Rodgers?
I honestly don’t think that it has to do with ego, believe it or not. It is a quality I had when I was that age, it was a combination of enormous vulnerability and the sensitivity, a specific kind of sensitivity. And a longing and hope. I carried it inside me. I could dance and I could sing it all, but I think it was the emotional makeup I was, which radiated from me to them. And that’s what they wanted.

Have you seen the July Andrews broadcast?
No, which is kind of wildlife. When I came in to meet [screenwriter and director, and Andrews’ husband] Blake Edwards for Victor/Victoriawe talked about it that we both did Cinderella. But I didn’t see her CinderellaBecause when her came out, I was quite young. For whatever reason – I don’t know why – I didn’t see it. But it was also good in a way, because with my own perspective and my own understanding I could come to that role, and I treated it as if I would do any other role in this way. I saw her as a very real young girl in a terrible situation that is really abused, and secretly hopes for something better for her life. I think that’s what I brought to it.

Do you remember that you were aware of the fact that you Cinderella Would it be the one who would still be, and it was filmed on video tape?
You know, I never thought about it. I was very focused on the best work I could, and to bring life to this character that I identified in many ways. Its future, I didn’t consider it. It was only before anyone pointed out to me that it was the highest assessed non-sports event on CBS for 45 years … I couldn’t believe it. It was extraordinary.

It is quite difficult to even now in the streaming and at request, but the audiences had far fewer options at the time. The whole country actually came together to look at Lesley Ann Warren Cinderella.
Right!

Do you remember how long the process was?
Not exactly. I think we’ve been practicing for weeks, maybe two, maybe three. Probably three, a combination of rehearsal and costume. And I think shooting it was maybe ten days, something like that.

It is so interesting, because it is very clear now that they had to look like a live broadcast, although it was not a direct broadcast. How were those shooting days?
It was incredibly long days. Stuart Damon [Prince Charming] And I, they gave our rooms across the street of CBS. They fell asleep us, because sometimes we work 19, 20 hours in a row. In those days I don’t think that retirement [the screenactors’ union] Has the rules they have now, so we would have worked these incredibly long hours and put us in this motel to sleep four or five hours and then come back. For me, it was just a combination of a magical experience along with hard work with nose-to-the-grinding stone.

What was the direction you got, and the things you learned about Richard Rodgers and Charles Dubin over the show and the role?
Richard Rodgers was there every second, and he was so surprising with me. I have wonderful pictures of him sitting next to me and showing on the sheet music that he wants differently, or what he wants more. He was very musically involved. But he took care of me so well. I remember one night, it was like three in the morning or a crazy hour, and I mentioned to someone that I felt just like a little peanut butter. The next thing I knew he drove to an entire night market and returned to me with this peanut butter.

Charlie was such a dream. I remember the first time we shot “in my own little corner”, he came from the booth and said, “Liefling, we can’t understand what you are saying, because you cry so much.” I was so emotionally involved in what I sing and portray. But he was gentle with me and protective, because I was the youngest person there and with this great pressure to fulfill this iconic role. But I never felt anything but support from the two.

Well, and talking about crying, it certainly sounds like all the singing is happening on the set?
We did sing live. Fortunately, from Broadway, I had that experience a lot under my belt and performed musicals. It wasn’t new to me, which could have been very scary.

Did you have the orchestra there, or did you sing to piano as we read with modern film musical?
We sang to a prior orchestra’s prior. And I can remember that I was in the studio with Johnny Green and the orchestra, so that my vocal interpretation was very clear in line with what they did, and vice versa.

Tell me about the collaboration with Jo of Fleet, your ‘evil stepmother’.
Well, it was easy to be afraid of her. But she was vulnerable as an actress and a mighty person. I didn’t get along really Know her, so I don’t know if it’s really who she is. But she was scary in that role, and I don’t have to act much. She was a force to take into account.

It is so wild that he imagines that they are 18 around these people. Have you felt confident in what you did, or are uncertainly surrounded by these legends?
Neither, to be honest. I was a very dedicated young artist. When I was so young, I started auditions for things. I was 14, and my parents didn’t allow me to do the things I got, like the road enterprise of Bee bee Birdiebecause they wanted me to complete high school, what I did. But when I completed high school I immediately went into rehearsal 110 in the shade That summer. I was very driven and driven to be as excellent as I could be. It was not trust. But I was firmly entrenched in everything I learned up to that point. So I became her. I became Cinderella. It was no longer Lesley to Jo van Fleet or Lesley and Ginger Rogers. It was Lesley and the Queen Mother. It takes away the fear and separation and judgment of me. You are simply that character in that situation, with the other actors doing the same.

Tell me about Celeste Holm, of course all Rodgers and Hammersstein Royalty by the time you worked together.
She was really a movie star for me. Ginger Rogers was, of course, too. But she wore a kind of movie star Air about her, Celeste. I remember that she told me not to move my face too much because I would make lines in my face – unfortunately I didn’t listen to her. But she was very beautiful, and an absolutely perfectionist actress. She was funny and soft, but she also had a certain way about her, which was kind of perfect for the role. She had this feeling of royalty about her. And again, because I was Cinderella, it was very easy for me to look for her and through her intoxicated t e. She wore it.

Let’s talk about that dress. I heard that you had quite a while with it.
It was so heavy. It was a very physically heavy dress. I had to leave this kind of muscle relaxants in my shoulders after hours and hours and hours.

It is also so interesting, because it does not look heavy at all.
Yes, but it was. I think the way it moves on the dance floor, which is so beautiful, but it has to do with the way it was weighed. However [costume designerGeorge Whittaker] It was built, it was a work of art. It was heavy, but when I danced in it, I never felt more magical or nicer.

I always loved it as a child, especially that collar.
It was beautiful. I think it was supposed to be a mine.

It looks so royal. Prediction?
Yes. I totally agree.

Tell me about the collaboration with Stuart Damon.
Loved him. Do you know, he was not the first prince to be rented. It was Jack Jones. And he did the opposite of what Richard Rodgers did me in my audition. He was a jazz singer, that was his background. That’s why he brought many jazz -riffs to the music, and that’s not what Richard Rodgers wanted at all. So unfortunately he was replaced. Fortunately for me, Stuart came in, and he was the most important prince. He was so beautiful. He had a wonderful voice. What people didn’t know about him was that he was so funny. We would laugh and laugh between [takes]which was wonderful to me, because the rest of the cast was older. I also had an incredible relationship with Pat Carroll and did further Threepenny opera Together in La. I just worshiped her, and she was also hysterically funny. I like to laugh, so it was a great rest of the intensity of the rest.

So now it’s done. Did you watch it directly on TV, or did you see it before it was broadcast?
Oh, I can’t remember. I swear to God I can’t remember. I should have seen it before that it was on TV, if there were things I had to record, replace or fix. I’m sure I had to see it, but I can’t remember. I’ve been doing it for 50 years. The first time I see something I did, I was terrified. I am very critical, and it takes me two or three times to see something to go, “Wait a moment, that’s really good. It’s nice. It’s beautiful.” So I’m sure I was in a kind of changed state when I first saw it.

Do you remember the reaction to it, and what did it do to your life and career as people saw it?
I only realized its impact later. Just after that I returned to Broadway to do another show, Drat! The cat!. I immediately went into rehearsal and then came out for two Disney films, and I just kept going. I was very active, and it was wonderful. What I thought a lot about it when I got older and older is that I did not take on the glorious experience of what I did and the wonderful reaction. I feel sad about it, but I was so driven to keep going. Years later, I began to realize the incredible impact of this particular show on people. It is never ending, the reaction and the notes I get from all ages of people and all generations of people. And it’s so meaningful to me. I’m not even sure I can process it completely. I try to take it because it’s so beautiful, but it’s big. It makes me speechless.

It should now feel almost like a home film. It is so much footage of you in such an important part of your life.
I can’t believe that the little girl, the young girl, young woman, could bring what she did. It is difficult for me to understand that my level of experience and sensitivity and training has enabled me to portray her in such an authentic, deep level, those feelings. People told me that it didn’t make them feel alone, that it sounded so sharp with them. I’m awe that I could do it.

It is also interesting to me that this role really gives up the rest of your career. I associate so much of what you have to do with comedy!
I think I’ve always been a character actress, and I’ve always want to be a character actress. I wanted the opportunity to alleviate many different women, on many different crossroads of their lives or their journeys, both comical and dramatic. I think it was a conscious and subconscious yearning on my part to do it all.

From which are the things Cinderella What you carried with you afterwards?
I feel like it has started my career with such an enormous gift of this magical, beautiful role, but also the people I am surrounded by, the great artists like Richard Rodgers. I was so grateful and happy that I was chosen to be in the company of such legendary, beautiful artists. That’s what I care about. I did a lot of work, I’ve worked all my life. But what most talks to me is when I am in the company of other artists who are just as committed and passionate and excited about what they do. If that doesn’t happen, I don’t have it so good.

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Photos: Lesley Ann Warren in Rogers & Hammersstein’s Cinderella