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the ur international theatre program

artistic director nigel maisterproduction manager gordon rice

administrator katie farrellassistant technical director sarah eisel

props master/production associate mary reisercostume shop manager nadine brooks taylor

box office & front-of-house manager angela giuseppetti assistant costume shop manager grace interlichia

senior costume shop intern jennifer uvinacostume shop intern elizabeth o'neil

wardrobe supervisor lakiesha holyfieldassistant props masters lydia jimenez & penina rubin

props intern natasha sacotoscene shop assistants cassandra donatelli & sam higginssocial media intern & pr assistant michael tamburrino

publicity interns stella kammel, fang ning (nancy) wang, milan byrdwell,bingqing (chrissy) guo & minsi lai

theatre interns naomi everhart & devin goodman program information compiled by penina rubin

URITP photographer adam fensterURITP videographer xuan (amy) zhang & brian giacalone

production trailers by brian giacaloneURITP webmaster zachary kimball

graphic, program & poster designi:master/studios at imaster.studios@gmail.com

www.rochester.edu/theatre

a note about the program

special thanksJoël Pommerat - Anne de Amezaga - Olivia Burton - Manisha Snoyer - Robert Stanton

Applied Audio and Theatre Supply - Bruce Stockton - Jeff Englander - Kevin BruceMelissa Becker - Prof. Russell Peck - Deborah Leinbach - Macie McGowan - Penina Rubin

Murie Gillett - Halle Burns - Daniel Bendesky - Kathryn Loveless - Derek WagerZoe Netter - Gordon Rice - Rory Blunt - Max Kinder - Joan, Ellis Wren, Dylan Rhys Jubett-Bauer

Carlotta Gambato, Ronni Pavan and Lulu and Sofia Greg Ruce at Vance Curves Metal Art - URMC Orthotics Department at Clinton Crossings

Dr. Julia Nathan - Fran Lipsky-Burns

the video and/or audio recording of this performance by any means whatsoeveris strictly prohibited

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This production has been made possible through the combined efforts of ENG 170 & 270 (Technical & Advanced Technical Theatre), ENG 172 (Intro to Stage Lighting and Sound), and ENG 290

(Plays in Production) Kenneth Apostolakos - Megan Arnold - Danielle Bendesky - Daniel Bogucki - Elizabeth Bradley - Danielle Branton

Halle Burns - Zachary Cicero - June Clayton - Julia Cowan - Brandyn Devanney - Mathew Ervin - Elizabeth Fox Jordan Golinowski - Chandler Haugh - Bryan Hoffman - Todd Kelmar - Garrett Kesel - Nicholas Kollias- Michael La Porte - Woo Jong Lee - Hannah Lewis - Thomas Marone - Brian Miers - Nicholas Napolitan - Ben O'Halloran Antonio Ortega - Mark Palmiere - Adam Parker - Nicholas Potter - Penina Rubin - William Ruiz - Isabelle Schmit

Eun Won Seo - Matthew Szeto - Michael Tamburrino - Zechariah Tredenick - Derek Wager - Devin White

Program content is compiled by the production’s Assistant Director, Penina Rubin, and edited by Nigel Mais-ter. For a complete list of sources and works cited, please contact the Theatre Program.

This production of Cinderella is dedicated to the memory of Anna Kroup, a valued and deeply mourned member of the

Todd Theatre family.

directed & set design by nigel maistercostume design by tilly grimes

lighting design by solomon weisbard sound design by obadiah eaves

video & projection design by c. andrew bauer

the university of rochester international theatre program presents

production staffproduction stage manager ................................................................. kimberly robertsassistant production stage manager ..................................................... alison schaeferassistant stage managers ........................................................... christi brodeur/video........................................................................................... stephanie busch/costumes .................................................................................................. elizabeth fox/run crew................................................................................................................ haoru li/props.............................................................................................. richard munson/run crew..................................................................................................... ben o'halloran/lights...................................................................................................... daniel parker/sound....................................................................................................... fulei peng/run crew................................................................................................... nicholas potter/props............................................................................................... jiayu (kate) tian/run crew.......................................................................................... jiahe (abby) wang/costumes.................................................................................................... renjin zhao/run crewmaster electrician ........................................................................... cassandra donatelliassistant master electricians ................................ elizabeth bradley & todd kelmaraudiovisual engineer ................................................................................. theo lincolnassistant audiovisual engineer ................................................................... kyle meyersscenic painters .............................. danielle bendesky, halle burns & lydia jimenezhair & makeup ................................................................ grace elizabeth interlichiastitcher ............................................................................................... melanie weekescutter/draper ........................................................................................ sara gallagherassistant to the costume designer ................................................. alexandra rozanskyassistant director ...................................................................................... penina rubin

this production was made possible, in part, by theellen miller '55 endowment for theater productions

cinderella runs approximately 2 hour and 05 minutes with a 15 minute intermission

Our work has been supported by the followinggenerous patrons and friends

of the ur international theatre program:Hameed Ahmed ('11) - Walter Monteith Aikman - Christopher David Apple ('92)

Leah Barish ('12) - Stephen M. Bertetti - Thomas M. Bohrer ('85)Leslie Braun - Kevin Brice ('12) - Kelsey A. Burritt ('13)Alan Carmasin ('67) - Lisa G. Chanzit - Donald Chew

Jessica Chinelli ('12) - Jill M. Cohen - Lisa J. Cohen ('84)Timothy J. & Shelby M. Connell - Montoia Davis ('10) - Alison DeSantis

Nina DeSoi ('12) - Margaret Wada & Michael Dumouchel - Lindsay Rae DussingEleanor Leba Eines - Diane Faissler

Randall Fippinger & the Frances Alexander Family Fund of the Fidelity Charitable Gift FundCharles Flowers - Bethany Gilboard ('80) - Edmund A. Hajim

Christopher and Alissa Harrington - Frank A. & Linda E. Interlichia - Lydia Jimenez ('13)Jonathan Kammel - Heidi Kasper - Zack Kimball - Taryn McKenna Kimel

Sheila Knopke - Adam Konowe ('90) - Sylvia B. LeeJeffery Mantel - Elizabeth McMaster (in memory of Katie McManus) - Mark R. Milner

Karen Celeste Moculeski - Chandler Moore - Mitch NelsonLawrence Nehring - David Paul Dominic Pascoe - Russell Peck

Diane Waldgeir Perlberg (‘77) & Mark C. Perlberg (‘78) - Giulia Perucchio ('13) - James PhillipsPaul I. Pilorz - Laura J. Platt - Peter Plummer

The family and friends of Nicholas S. Priore ‘83 - Ronald Rettner - Matt RodanoKathleen Rose - Seth A. Rubinstein - Andrew Ruffner - Mariko Sakita-Mozeson

James Schwartz - Dr. Rene, Iris and Robert Rene Sevigny - Kay ShamesAadika Singh - Mrs. May T. Skinner - Robert & Roberta Sokol

Linda & Tom Sloan - Joan Ross Sorkin - Nancy Rademan StilwellEvelyn Stock - Bruce Stockton ('11) - Jean Marie Sullivan - Carl Talbot

Marian Todd - Eugene Vaynberg ('08) - Janice WillettCyd Rosenberg Weiss - West Family Trust - Peter Winkelstein

Mark & Robin Young

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ur supporting the arts by joël pommerattranslated by emma laurent

1911-1983

Joël Pommerat is an award-winning contempo-rary French playwright who developed a love of theater at the age of 12 when he first attended

the Festival d’Avignon. At 18, he became an actor in a regional theater company, but quickly realized that he wanted to be a playwright and director. He founded the Compagnie Louis Brouillard in 1990 and since then has written and directed two dozen plays. Pommerat has been (until very recently) dedi-cated exclusively to staging his own works, three of which have been adapted from fairy tales: Le petit chaperon rouge (Little Red Riding Hood, 2004), Pinoc-chio (2008), and Cendrillon (Cinderella, 2011). In an interview with Christian Longchamp, Pommerat explained how his interest in the world of fairy tales, and in particular Cinderella, stems from its ability not only to affect children, but also to hold emo-tional resonance for adults. Pommerat speaks about creating a Cinderella that focuses on the protagonist’s

bereavement over her dead mother; creating a less violent and more complex central character. Pommerat has earned many accolades for his dramatic writing, including the Grand Prix for Dramatic Literature (Les Marchands), 2010 Molière Award for Best Company (Cercles/Fictions), 2011 Molière Awards for Best Living Francophone Au-thor and Best Company (Ma chambre froide), and 2006 Critic’s Prize for Best Work in the French Lan-guage (Cet enfant). He was an artist-in-residence at the Théâtre des Bouffes du Nord in Paris (at the invitation of Peter Brook), and stayed through 2010 after which he became associate artist at the Odéon Theater of Europe (2010-2013) and at the National Theater of Belgium. Pommerat is currently prepar-ing his first theater piece in English, a production of Cinderella with American actors that opens at New York Theatre Workshop in May 2014.

joël pommeratC. Andrew BAuer (Video Design) Previous Todd Theatre production: The Adding Machine (dir. Nigel Maister). NYC: CQ/CX, co-design with Peter Ni-grini (dir. David Leveaux, Atlantic Theater Compa-ny); An Error of the Moon, written by Luigi Creatore (dir. Kim Weild, Theater Row); Detour, 5 Minutes (New York Live Arts) and Passage (LIU), all with Amanda Selwyn Dance; The Diary of a Teenage Girl, (dirs. Sarah Cameron Sunde and Rachel Eckerling, 3LD Art and Technology Center); Romeo and Juliet (dir. Tony Speciale, CSC); and Milk-n-Honey for Lightbox Theater Company (dir. Ellen Beckerman, 3LD Art and Technology Center, NYC; Ko Festi-val, Amherst College). Regional: Hydrogen Jukebox (dir. Lawrence Edelson, Fort Worth Opera). As As-sociate Video Designer, Broadway: The Best Man (dir. Michael Wilson, Schoenfeld Theatre), Fela! (dir. Bill T. Jones, Eugene O'Neill Theatre), 9 to 5: the Musi-cal (dir. Joe Mantello, Marquis Theatre) and Lestat (dir. Robert Jess Roth, Palace Theater). As Associate Video Designer, Off Broadway: Here Lies Love (dir. Alex Timbers, Public Theatre), Far from Heaven (dir. Michael Greif, Playwrights Horizons),Fetch Clay, Make Man (dir. Des McAnuff, NYTW); The Elabo-rate Entrance of Chad Deity (dir. Eddie Torres, Second Stage) and Wings (dir. John Doyle, Second Stage). As Associate Video Designer, Regional: Sleeping Beauty Wakes, (dir. Rebecca Taichman, McCarter Theater, NJ; LaJolla Theater, CA), The Elaborate Entrance of Chad Deity (dir. Eddie Torres, Geffen Theatre; dir. Jaime Casteñeda, Dallas Theater Center), and Before Night Falls (dir. David Gately), Angels in America (dir. David Gately) and Frau Margot (dir. Frank Corsaro), all at Fort Worth Opera. As Associate Video De-signer, International: Fela! (dir. Bill T. Jones, Royal National Theatre, UK). Awards: 2010 Innovative Theater Award for Fetes De La Nuit (dir. Kim Weild, Ohio Theater); Design for Milk-n-Honey featured in USA Exhibition “From the Edge,” 2011 Prague Qua-drennial. Andrew was a member of the 1998-1999 Apprentice Company at Actors Theatre of Louisville. He also edited and produced Brooklyn Bound, a narra-tive feature that premiered at the 2004 Tribeca Film Festival.

b. 1963

casta female narrator who is heard but not seen .... patricia lewis

a man who makes movements while she speaks .... charles lehnerthe very young girl .... zoe netter

the mother .... ellen swansonthe father .... travis j. kohler

the stepmother .... kathryn lovelessthe big sister .... halle burns

the little sister .... leah mouldthe fairy .... giulia perucchio

the very young prince .... shane r. saxtonthe king .... david libbey

two guards (and others) .... alberto carrillo casas & nathan contino

emmA LAurent (Translator) is an American trans-lator, poet, and classical pianist. She specializes in adapting contemporary French theater for American audiences. Laurent has translated five Joël Pommer-at plays including Little Red Riding Hood, Pinocchio, and I Tremble (I and II), published in Yale Theater Magazine, and Ma Chambre Froide, for which she re-ceived the SACD translation prize in 2012. In 2013, she was awarded residencies at the Cité des Artes in Paris from Ville de Paris and the Om Ledig House, through the Amazon Translation Prize.

tiLLy Grimes (Costume Design) is a European stage designer currently working between Europe and New York. Awards include The Balsamo Grand for Emerging Immigrant Artists, The Irish Arts Design Award, and Irish Times Theatre Award Nomination. Favorite credits include Martin Crimp’s Caligula, Mark Lamos’ Twelfth Night, and David Lee’s Pres-ent Laughter. In America Tilly’s work has been seen at Oregon Shakespeare Festival, Two Rivers Theatre Company, Trinity Repertory Company, New World Stages, La Ma Ma, Clubbed Thumb, Here Arts Cen-tre, New Georges, Ars Nova and Theatre Row New York. Tilly has been a guest artist and guest designer at The Juilliard School, New York University, Ford-ham University, PPAS in NYC and Trinity College Dublin. Tilly is co-artistic director of London/Pari-sian Theatre Company ‘SavageCharm’. She received her M.F.A from NYU Tisch School and teaches at Brown University’s directing MFA program.

soLomon weisBArd (Lighting Design)'s selected credits include Stones in his Pockets (Yale Rep), Lion in Winter, A Class Act (Berkshire Theatre Group), White’s Lies (New World Stages); The Film Society (Keen Co. / Theatre Row), I Came to Look for You on Tuesday (La Mama),Rite of Spring (Martha Graham Dance Co.), Christina Anderson’s Hollow Roots (Public Theatre Under the Radar), Agamemnon (11th Hour / La Mama); Faust, The Barber of Seville (Tri-Cities Opera); 9 to 5, A Chorus Line, All Shook Up (Merry-Go-Round Playhouse); Frank London’s A Night in the Old Marketplace (Merkin Hall and international tour); What of the Night, St. Joan of the Stockyards (Barnard College). Original full-length dance/move-ment pieces with Alethea Adsitt, Jennifer Archibald, Julian Barnett (set), Ximena Garnica/Leimay, Lane Gifford, Ofelia Loret de Mola/danscores (set and lighting), The Nerve Tank (set and lighting), Patrick Lovejoy, Stefanie Nelson (set and lighting), WaxFac-tory (as featured in American Theatre magazine), and three new works as associate set designer with renowned choreographer Bill T. Jones. He is a gradu-ate of Ithaca College and the Yale School of Drama. www.solweisbard.com

oBAdiAh eAves (Sound Design) has lost count of the number of productions he has designed at Todd Theater over the past eighteen years, but thinks it's more than thirty. His work has appeared on Broad-way in The Assembled Parties; Harvey; A Life In The Theatre; Collected Stories; Accent On Youth; Come Back, Little Sheba; The Lieutenant of Inishmore; and Shin-ing City. He created music and sound for the origi-nal productions of works by David Mamet, Woody Allen, Eric Bogosian, Ethan Coen, and Suzan-Lori Parks. Other recent Off-Broadway and regional work includes The Unavoidable Disappearance of Tom Durnin; If There Is, We Haven't Found It Yet (Round-about); Oblivion (Westport Country Playhouse); and The Total Bent (Public). Awards: Lortel, Viv, and BACC awards. TV: HBO, Nickelodeon, Discovery, TLC, History Channel; also Fisher-Price toys.

artist bios

It is grown people who make the nursery stories; all children do, is jealously preserve the text. Robert Louis Stevenson

The Cinderella story is one of the most widely known fairytales. Versions of it are found throughout the world and appear in many

forms. The one that has permeated today's popular culture finds its origins in Charles Perrault's tale Cen-drillon, ou la petite pantoufle de verre (Cinderella, or the Little Glass Slipper) which was first published in His-toires ou contes du temps passé (Stories or Fairy Tales from Past Times) in 1697. In this version of the story, Cin-derella’s father remarries a woman with two daughters, who force Cinderella to do menial chores all day and night, after which she curls up in her barren room by the fireplace, resulting in her face and body getting covered in cinders. When the rest of the family leaves for a ball hosted by the Prince, Cinderella begins to cry. Her fairy godmother magically appears and casts a spell for Cinderella to go to the ball, turns a pumpkin into a carriage, mice into horses, a rat into a coachman, lizards into footmen, and Cinderella’s rags into a beau-tiful gown and pair of glass slippers. She warns Cin-derella that the spell will break at midnight and that she must return before then. At the ball, the Prince becomes entranced by Cinderella, and in her haste to return home before midnight, Cinderella loses one of her glass slippers. The Prince travels around the king-dom, trying the shoe on all women to see who it fits in order to locate the slipper’s owner. The stepmother and stepsisters try to interfere and win the Prince over before he can try the slipper on Cinderella, but when he finally does so, the slipper fits perfectly. She marries the prince and grants her stepsisters forgiveness for all their cruelty. This tale, however, is far from the only ver-sion or variation of Cinderella which exists. The earli-est published Cinderella tale found in Europe appeared in Italy as a part of Giambattista Basile’s Pentamerone (Day 1, Tale 6), published in 1634, called "La Gatta Cenerentola" or Cat Cinderella. In this tale a young girl named Zezolla, the only daughter of a Prince, plots with her governess to kill her stepmother, and succeeds in doing so by having the lid of a chest fall on the stepmother, crushing her neck. The Prince then

cinderella in the european traditiontold him to look at the blood pouring forth.That is the way with amputations.They just don't heal up like a wish. The prince was looking for a wife.The other sister cut off her heelbut the blood told as blood will.The prince was getting tired.He began to feel like a shoe salesman.But he gave it one last try.This time Cinderella fit into the shoelike a love letter into its envelope.

At the wedding ceremonythe two sisters came to curry favorand the white dove pecked their eyes out.Two hollow spots were leftlike soup spoons.

Cinderella and the princelived, they say, happily ever after,like two dolls in a museum casenever bothered by diapers or dust,never arguing over the timing of an egg,never telling the same story twice,never getting a middle-aged spread,their darling smiles pasted on for eternity.Regular Bobbsey Twins.That story.

The prince leans to the girl in scarlet heels, Her green eyes slant, hair flaring in a fan Of silver as the rondo slows; now reels Begin on tilted violins to span

The whole revolving tall glass palace hall Where guests slide gliding into light like wine; Rose candles flicker on the lilac wall Reflecting in a million flagons' shine,

And glided couples all in whirling trance Follow holiday revel begun long since, Until near twelve the strange girl all at once Guilt-stricken halts, pales, clings to the prince

As amid the hectic music and cocktail talk She hears the caustic ticking of the clock.

cinderella by sylvia plath

From dusk to dawn,From town to town,Without a single clue,I seek the tender, slender footTo fit this crystal shoe.From dusk to dawn,I try it onEach damsel that I meet.And I still love her so, but oh,I've started hating feet.

in search of cinderella by shel silverstein

george méliès's cendrillon, 1899

marries Zezolla's governess, who turns out to be worse than the first stepmother, pampering her own six daughters and forcing Zezolla to reside in the kitchen and work as a servant. Her father returns from one of his many trips abroad with a seedling date tree. Zezolla plants the seedling, which quickly grows into a tree the size of a woman; it has a fairy living inside it. The fairy gives Zezolla everything she asks for, includ-ing coaches and dresses to attend the King's parties, where the King takes notice of her and sends a servant to follow her and discover her identity. Zezolla suc-cessfully is able to outwit the servant until her third escape when, in her anxiety to leave, she drops one of her shoes. The King then orders a search for the owner of the shoe, and when he approaches Zezolla with the shoe, it darts out of his hands and onto her foot on its own accord. The King makes Zezolla his queen. Another notable version of the Cinderella story appears in Jacob and Wilhelm Grimm’s collec-tion Children’s and Household Tales, published in 1812, where she is known by the name Aschenputtel. In this tale, Aschenputtel's widowed father marries a woman with two daughter of her own. The stepmother and stepsisters charge Aschenputtel with picking peas and lentils out of the ashes in the kitchen. Grieving over her dead mother, Aschenputtel plants a hazel tree over the grave of her mother. The tree grows, and a little white bird perches on it. The bird brings Aschenputtel anything she wishes, including a gold and silver dress in order to attend the king's three-day festival. Each day of the festival, the prince is enamored of Aschen-puttel, but she runs off before he can escort her home. On the third day, the prince smears a staircase with pitch to trap her, but the result is only partially suc-cessful: only one of Aschenputtel's shoes gets stuck. The prince announces that he will marry whomever the shoe fits. The elder and younger stepsisters, given the opportunity to try on the shoe, cut off their big toe and heel respectively to make it fit, but both times the prince is warned of their deceit by a pair of pigeons. The prince finally tries the shoe on Aschenputtel. It fits perfectly. At the wedding, the pigeons that sit on Aschenputtel's shoulders peck out the eyes of the stepsisters.

You always read about it:the plumber with the twelve childrenwho wins the Irish Sweepstakes.From toilets to riches.That story.

Or the nursemaid,some luscious sweet from Denmarkwho captures the oldest son's heart.from diapers to Dior.That story.

Or a milkman who serves the wealthy,eggs, cream, butter, yogurt, milk,the white truck like an ambulancewho goes into real estateand makes a pile.From homogenized to martinis at lunch.

Or the charwomanwho is on the bus when it cracks upand collects enough from the insurance.From mops to Bonwit Teller.That story.

Oncethe wife of a rich man was on her deathbedand she said to her daughter Cinderella:Be devout. Be good. Then I will smiledown from heaven in the seam of a cloud.The man took another wife who hadtwo daughters, pretty enoughbut with hearts like blackjacks.Cinderella was their maid.She slept on the sooty hearth each nightand walked around looking like Al Jolson.Her father brought presents home from town,jewels and gowns for the other womenbut the twig of a tree for Cinderella.She planted that twig on her mother's graveand it grew to a tree where a white dove sat.Whenever she wished for anything the dovewould drop it like an egg upon the ground.The bird is important, my dears, so heed him.

Next came the ball, as you all know.It was a marriage market.The prince was looking for a wife. All but Cinderella were preparingand gussying up for the event.Cinderella begged to go too.Her stepmother threw a dish of lentilsinto the cinders and said: Pick themup in an hour and you shall go.The white dove brought all his friends;all the warm wings of the fatherland came,and picked up the lentils in a jiffy.No, Cinderella, said the stepmother,you have no clothes and cannot dance.That's the way with stepmothers.

Cinderella went to the tree at the graveand cried forth like a gospel singer:Mama! Mama! My turtledove,send me to the prince's ball!The bird dropped down a golden dressand delicate little slippers.Rather a large package for a simple bird.So she went. Which is no surprise.Her stepmother and sisters didn'trecognize her without her cinder faceand the prince took her hand on the spotand danced with no other the whole day.

As nightfall came she thought she'd betterget home. The prince walked her homeand she disappeared into the pigeon houseand although the prince took an axe and brokeit open she was gone. Back to her cinders.These events repeated themselves for three days.However on the third day the princecovered the palace steps with cobbler's waxand Cinderella's gold shoe stuck upon it.Now he would find whom the shoe fitand find his strange dancing girl for keeps.He went to their house and the two sisterswere delighted because they had lovely feet.The eldest went into a room to try the slipper onbut her big toe got in the way so she simplysliced it off and put on the slipper.The prince rode away with her until the white dove

cinderella by anne sexton

down and grabs one of her slippers. He then carries the slipper to the Pharaoh and drops it onto his head. The Pharaoh, recognizing this as a sign from the god, seeks out the owner of the slipper in order to marry her. Rho-dopis tries to hide from the Pharaoh when he arrives at her house, but he sees her and asks her to try on the slipper. The slipper fits onto her foot and she produces the other slipper to prove that they are, in fact, her slip-pers, after which the Pharaoh declares he will marry her. Other notable versions include Yeh-Hsien from China which was published in the 9th century compilation, Micellaneous Morsels from Youyang, Rashin Coatie, a Scottish fairy tale collected by Joseph Jacobs in More English Fairy Tales, and Kongji in the story Kongji and Patzzi from Korea which dates from the Joseon Dy-nasty. Cinderella exists in many forms from every cor-ner of the globe, from Creole stories to Russian fables.

It is not possible to pinpoint the origin of Cinderella as it originated from the oral tradition of folklore and has

appeared across the globe in almost every culture. The specifics of the story change with every different tell-ing, but the underlying morality and themes remain the same, adapted to fit the culture in which they originate. One of the oldest records of a Cinderella tale is the sto-ry of Rhodopis (“rosy-cheeked”) which was chronicled by the Greek historian Strabo around 1st century BC. This version tells the story a Greek slave, Rhodopis, who is sold to work in an Egyptian household. Rhodopis is teased by the other servant girls for her light-colored eyes and fair complexion, and so is treated harshly and made to do more work than anyone else. When she's on her own, Rhodopis dances, which her master sees and likes. He gives her a pair of rose-gilded slippers, making the other servant girls jealous. The Pharaoh then holds a celebration in Memphis, which the other servant girls prevent Rhodopis from attending by giving her a long list of chores to complete. Washing clothes by the river, the god Horus, in falcon form, swoops

the international cinderella

lundi matin (or the song the little girl sings)Lundi matin,L'emp'reur, sa femme et le p'tit princeSont venus chez moiPour me serrer la pinceComm' j'étais partiLe p'tit prince a ditPuisque c'est ainsiNous reviendrons mardi.

Mardi matin,L'emp'reur, sa femme et le p'tit princeSont venus chez moiPour me serrer la pinceComm' j'étais partiLe p'tit prince a ditPuisque c'est ainsiNous reviendrons mercredi.

Mercredi matin,L'emp'reur, sa femme et le p'tit princeSont venus chez moiPour me serrer la pinceComm' j'étais partiLe p'tit prince a ditPuisque c'est ainsiNous reviendrons jeudi.

...

Dimanche matin,L'emp'reur, sa femme et le p'tit princeSont venus chez moiPour me serrer la pinceComm' j'étais partiLe p'tit prince a ditPuisqu'il n'y est plus Nous ne reviendrons plus.

On Monday morningThe emperor, his wife and the little prince,Came to my houseTo shake my hand.Since I had left,The little prince said,"Since this is how it is,We'll come back on Tuesday."

On Tuesday morningThe emperor, his wife and the little prince,Came to my houseTo shake my hand.Since I had left,The little prince said,"Since this is how it is,We'll come back on Wednesday."

On Wednesday morningThe emperor, his wife and the little prince,Came to my houseTo shake my hand.Since I had left,The little prince said,"Since this is how it is,We'll come back on Thursday."

...

On Sunday morningThe emperor, his wife and the little prince,Came to my houseTo shake my hand.Since I had left,The little prince said,"Since she's not here anymore,We won't come back again."

china: y

eh h

sien

egypt: rhodopis

Cendrillon (France) c Finette (France) c Donkey Skin (France) c Aschenputtel (Germany)Allerleirauh (Germany) c Zezolla (Italy) c Preziosa (Italy) c Katie Woodencloak (Norwegian)

Rhodopis (Egypt) c Yeh-Hsien (China) c Bawang Merah (Malaysia) c Bawang Putih (Indonesia)Abadeha (Philippines) c Tam (Vietnam) c Kao (Thailand) c Kongjwi (Korea) c Pear Blossom (Korea) c Chinye (West Africa) c Little Cat Skin (United States) c Settareh (Persia) c Angkat (Cambodia) c

Cinduri (India) c Mossycoat (England) c Rashin Coatie (Scotland) c Cap-o’-Rushes (England) c Oona (Ireland) c Vasilisa (Russia)

the many names of cinderella

Cinderella has been adapted many times for the stage and screen. In 1950, Walt Disney Animation Studios produced Cinderella, based on the Perrault telling of Cendrillon and released by RKO Radio Pictures. The animated feature was directed by Clyde Geronimi,

Hamilton Luske, and Wilfred Jackson; the songs were written by Mack David, Jerry Livings-ton, and Al Hoffman. There are two direct-to-video sequels released by Disney, Cinderella II: Dreams Come True (2002) and Cinderella III: A Twist in Time (2007). A musical version of Cinderella, also based on the Perrault tale, with music by Richard Rodgers and book and lyrics by Oscar Hammerstein II aired on CBS in 1957. This television musical was first performed on stage in 1958 at the London Coliseum and first appeared in U.S. theatres by 1961. Other notable adaptations include a pantomime stage production which debuted at the Drury Lane Theatre in 1904; La Cenerentola, an 1817 opera by Gioachino Rossini; Mr. Cinders, a musical which premiered at the Adelphi Theatre in 1929, with music by Vivian Ellis and Richard Myers, and a libretto by Clifford Grey and Greatorex Newman.

adaptations

korea: kongji

scotland: rashin coatie

the evil stepmother

The role of the evil stepmother in fairytales, especially in Cinderella, is an archetype that, when read from a psychoanalytical perspec-

tive, stems from what is known as the pubertal child’s “family romance.” This fantasy emerges as a child grows up and her once saintly mother begins to discipline her. With this shift in relationship, the child divides these two maternal characters into two different beings: the good mother and the impos-ter or false mother. This daydream of the pubertal child gets physically represented in a fairytale with the separation between the good mother (normally dead) and the evil stepmother who is seen as cruel for denying the child something she wants, just as a disciplining mother would. The mother and the stepmother in these tales exhibit exaggerated quali-ties of good and bad, mirroring the binary in which young children view the world-either it is perfect or it is the worst imaginable. This separation into the good and evil provides the child with an outlet to feel anger towards the false parent without feeling guilt about endangering the true parent, since they are viewed as completely separate entities. These types of fantasies typically appear within children who already exhibit guilt as a part of their personal-ity make-up. This break between the good and the bad within the mother also raises hope in the child for a “happily ever after” ending where the real parent will reappear. Until then however, the child is seen to be in a "Cinderella" existence: one of innocent virtue, living among the ashes of maternal discipline.

The figure of a fairy godmother has become a staple of the Cinderella story, thanks to the popularity of Perrault’s tale. The fairy god-

mother acts as a mentor or parent to the protago-nist and has been interpreted to be a reincarnation of the dead mother figure or even a projection of the protagonist’s psyche. The fairy godmother, with her magical powers, offers advice and helps our hero, providing her with the love and support missing from her current parental figure.

the fairy godmother

Charles Perrault (1628-1703) was a French author and is most well-known for turning folk tales into what we now know as the genre of fairy tales. His best known tales are Le Petit Chaperon rouge (Little

Red Riding Hood), Cendrillon (Cinderella), Le Chat Botté (Puss in Boots), La Belle au bois dormant (The Sleeping Beauty), and La Barbe bleue (Blue-beard). Many of his works have since been adapted into plays, musicals, op-eras, ballets, and more.

moral (from perrault's cinderella)

Moral: Beauty in a woman is a rare treasure that will always be admired. Graciousness, however, is priceless and of even greater value. This is what Cinderella’s godmother gave to her when she taught her to behave like a queen. Young women, in the winning of a heart, graciousness is more important that a beautiful hairdo. It is a true gift of the fairies. Without it nothing is possible; with it, one can do anything. Another moral: Without doubt it is a great advantage to have intelligence, courage, good breeding, and common sense. These, and similar talents come only from heaven, and it is good to have them. However, even these may fail to bring you success, without the blessings of a godfather or a godmother.