CBS/Museum of Television and Radio

The first Broadway production of “Rodgers and Hammerstein’s Cinderella” is in the works for the 2012-13 theater season, with a new libretto by Douglas Carter Beane (“Lysistrata Jones,” “Sister Act”) based on the 1957 television musical that starred Julie Andrews, the producer Robyn Goodman said on Thursday.

Calling Mr. Beane’s book “somewhat revisionist,” Ms. Goodman said that the biggest twist was having Cinderella “rescue the prince by teaching him good values.” She described the plot as blending political satire (to interest adult theater-goers) with slapstick humor and the familiar story of cruel stepsisters, a fairy godmother, and a magic pumpkin (to appeal to children and teenagers). Mr. Beane also sought inspiration from various literary adaptation of the tale.

“Cinderella,” which has been performed in theaters across the United States and overseas, as well as at the New York City Opera, is the only musical written for television by Rodgers and Hammerstein. They had already created “Oklahoma!,” “South Pacific,” and “The King and I” by the time CBS executives signed them develop a vehicle for Ms. Andrews, who was appearing on Broadway in “My Fair Lady” around that time. (She would go on, of course, to star in the 1965 film version of the song-writing team’s “The Sound of Music.”)

Ms. Goodman, a Tony Award-winning producer of “Avenue Q” and “In the Heights,” said that she is planning a workshop in April to further develop the musical, and if all goes well, she and her partners intended to mount a $12 million production on Broadway next season. She said she already had an actress in mind to play Cinderella, who would be in her 20s for the production, but she declined to name her. She is in talks now with a director; no theater has been lined up.

The impetus for the Broadway production was a conversation Ms. Goodman had a few years ago with Ted Chapin, the president of the Rodgers and Hammerstein organization. Mr. Chapin said on Thursday that the idea of “Cinderella” on Broadway “has always been lurking because, even though Rodgers and Hammerstein wrote the piece for 12-inch black-and-white television screens, it’s still a consummately theatrical work.”

Mr. Chapin said that Mr. Beane was given plenty of latitude to reconceive the story for modern audiences. He added that the playwright had expanded the score to include a few songs from the Rodgers and Hammerstein trunk that had been cut from some of their other musicals, such as a song called “Now Is the Time” that was written for “South Pacific” and “I’ve Lived and I’ve Loved” from “The Sound of Music.” No classic songs from other shows will be interpolated for “Cinderella,” Mr. Chapin said.

The new story does not include Cinderella’s mother and father (but fear not, the step-mother lives), Ms. Goodman said, nor is there a king and queen living in the castle with the prince. “Instead there is a guy who oversees the kingdom for the prince,” she said, described this regent figure as “a kind of Dick Cheney character.”

Mr. Beane, who was nominated for a Tony for best book last spring for “Sister Act” (as he was in 2008 for “Xanadu”), has revived another classic work for his musical “Lysistrata Jones,” in which the women of Greece have been updated to basketball cheerleaders who withhold sex from poorly performing players until they win a game. That Broadway show, now in preview performances, is set to open Wednesday.