The most famous version of "Cinderella" at the date of this production must have been Disney's exquisite movie. It is a Herculean task to better that one, but, Hammerstein wrote, "Impossible things are happening everyday", which ethos may well have been in the writer's mind, especially as they have the current mega Broadway star Julie Andrews in the lead. The story of "Cinderella" is a simple one and it was a right decision of Rodgers's and Hammerstein's to avoid conflation. They conform to the traditional story, taking no more liberty than such as a little blowing-up of the character of the Fairy Godmother, comparable to the little cat-and-mice antic which had successfully enlivened Disney's version. What was created is even more musical than Disney's, and magically so in every sense. Per arias in operas the songs convey wonderfully emotional dimensions. The character of Cinderella is established as a dreamer - which it is tempting to suppose an indebtedness to Disney's - in no other more means than songs. Even more so than in the celebrated "The Sound of Music", the lyrics are remarkably expressive, yet so simple that you could almost really believe they are improvised. The music carries the same graceful and elegant air as in Disney's film, only, without the more sinister moments, even more dreamlike. The libretto is quite incidental, and the rooms (or room?) in which it was all performed are clearly strait, not least that the quality of the film is quite dire even for the 1950s. But the glorious music does whatever is left undone by the book, particularly when one of their performers - all of whom are excellent - is none less than Julie Andrews, and her radiance and liveliness, along with the excellent supporting cast, produce the sheen in lieu of the black-and-white filming and subdued set and costume of this little gem.