PANTOMIME, BURLESQUE, AND CHILDREN'S DRAMA:

Disher, Willson. [Another often cited authority on pantomime, whose work I have been unable to locate.]

Frow, Gerald. "Oh, Yes It Is!": A History of Pantomime. London: British Broadcasting Corporation, 1985. [Provides a summary of Cinderella pantos. Perrault a main source for pantomimes, including Cinderella. Rossini' La Cenerentola opened at the King's Theatre in Haymarket in January 1820. Twelve weeks later Covent Garden opened its Easter pantomime Harlequin and Cinderella; or, The Little Glass Slipper, with Baron Pomposini and his wife (played by Grimaldi). Cinderella was called "Finetta," after Madame d'Aulnoy. In H. J. Byron's Cinderella (1860 at the Royal Strand) the sisters came into full ugliness and Buttoni makes his first appearance. In 1895, at Drury Lane, Cinderella set out to the Ball in an "automotor carriage encrusted with incandescent jewels." In 1883-84 her slippers are made of "toughened glass." Frow discusses uses of advertising in pantomimes and popular songs, sex, domestic animals, and spectacular devices to attract audiences. Summarizes the numerous names for the Baron, the sisters, and the Prince.]

Illustrated London News. "The Pantomimes and Burlesque." December 31, 1859. "The composition of pantomimes, notwithstanding a vulgar notion to the contrary, has of late days greatly improved. In the days of `Mother Goose' they made no claim to a literary status. But nowadays they are carefully written by literary men, and aspire to literary merit. We must go back to earlier periods, if we will compare things new with old, when the pantomime was a classical production. Mr. Rich, to whom their English origin is ascribed, merely revived an old classical form of drama. `The Royal Shepherd of Mount Ida' was the favourite subject with the ancient theatres - the audiences of Greece and Rome were entertained with the Shepherd, the Mountain, and the Apple, all of which were to them intelligible objects, and, therefore, especially suitable to pantomimic exhibition. The same principle was extended in the middle ages, and is still in Italy and Spain to the Mysteries and Moralities, and the dramas that are statedly acted in Catholic churches. A previous acquaintance with the subject is needful for the thorough enjoyment of pantomimic action, though the rule has not always been acted upon either in ancient or modern times, and in some instances been mistaken altogether. Serious pantomimes were once as frequent as comic; and it is recorded that they were occasionally found so pathetic that both actors and audiences were equally affected. Tears both on and off the stage were shed in great abundance. But no opportunity has been given of late years for a Tragic Pantomimist to make a reputation..." (p. 640).

Marill, Alvin H. "Cinderella." In More Theatre: Stage to Screen to Television. Vol. I: A-L (Metuchen, N.J., and London: Scarecrow Press, 1993), 324-76. [Excellent introductory essay and listing of forty-one pantomime/stage productions of Cinderella in England and the United States, with casts, production information, musical numbers, opening dates, theater, and number of performances; and ninety-six productions between 1900 and 1990, with the same kinds of information. I am greatly endebted to this source, for information regarding 19th-century American pantomime productions and also musicals in the early 20th-century.]

Pickering, David. Encyclopedia of Pantomime. Andover, Hants: Gale Research International, 1993. [Besides entries A-Z on all matters pertaining to pantomime, from actors, authors, theatres, and staging matters to roles and types, the encyclopedia includes essays by John Morley on "How to Write a Pantomime," "Pantomime Today," and (with Roy Hudd and Jack Tripp) "The Pantomime Performer." Also includes a chronology, bibliography, and an amusing collection of "Quotations about Pantomime" such as G. B. Shaw's "A child who has never seen a pantomime, or an adult who has never seen a play, is a public danger."]

Sanford, Beryl. "Cinderella." The Psychoanalytical Forum, 2 (1967), 127-44. [Provides a psychoanalytical reading of a typical pantomime Cinderella plot. The "Principal Boy" is always played by a woman. "In former days she was immense of bosom and magnificent of thigh which she slapped like a thunder-clap before singing a popular song in a powerful contralto voice. Although slimmer dotay, she wears the traditional garments. She carries a riding-whip or a jewelled cane, and a cocked hat, usually with an erect feather in it. Over her fine bosom falls a cascade of lace ruffles, and nestling in the lace is a large oval diamond the size of a hen's egg. This jewel, as I see it, symbolizes the feminine genital" (pp. 128-29). Rather than a sex-change he represents a sex-fusion, which is not the case with the Ugly Sisters, played by men, who are like mean brothers depriving Cinderella of her feminity by abuse--a grotesque masquerade. Cinderella longs for the impossible ideal figured in Principal Boy (both mother and father figure) and cannot appreciate Buttons, who loves her and "is the only human being in this galaxy of Panto mortals and immortals. He is the one who makes contact with the children in the audience so that they sing together, shout slogans together, laugh and cry together. But Cinderella has no use for reality, or rather, try as she will, she cannot make contact with reality, so she turns from poor Buttons with his human loves and hates to the impossible ideal, Prince Charming" (p. 129). The Ugly Sisters' attempts to fit their feet into the slipper are castration attempts to have female genitals. Cinderella gets back her feminity. She turns her back on Buttons and is united in a kind of deathlike way (forever after) "with an ideal combined mother-father figure, the dashing Principal Boy with the long cane and the magnificent bosom" (p. 130), who makes up for the missing mother and the inept father and completes her mythic dream as the real Buttons could not do.]

Wilson, A. E. The Story of Pantomime. London: Home and Van Thal, 1949. [Traces the form from Italian and French Commedia dell' Arte. The first pantomime in England was John Weaver's The Cheats; or, the Tavern Bilkers, at Drury Lane Theatre in 1702. John Rich, inventor of the Harlequinade, was the first to describe a play as a pantomime. He was a performer and founder of Covent Garden Theatre. The first Cinderella stage production was in 1804, though the first real pantomime treatment was not until 1864. Cinderella is the most popular of the pantomimes. In 1948 alone, there were 37 different Cinderella productions in England. The first stage production of Aladdin was in 1788 at Covent Garden Theatre. In 1813 it appeared again, with Grimaldi as the dumb slave Kasrac. Includes a chapter on Grimaldi.]

CINDERELLA PANTOMIME SCRIPTS:

Cinderella: A Pantomime: An accurate description of the grand allegorical pantomimic spectacle of Cinderella, as performed at the Theatre Royal, Drury Lane; to which is added, A critique on the performance and performers by a lover of the drama, together with the story of Cinderella, London: J. Fairburn, 1804. The pantomime was originally produced at Drury Lane, January, 1804. Music by Michael Kelly (1762-1826). Dir. Mr. Byrne. Scenes designed by Mr. Greenwood. Machinery and costumes by Mr. Johnston, Mr. Underwood, Mr. Banks, and Miss Rein. Cast: Immortals: Hymen (Mr. Byrne), Cupid (Oscar Byrne), Venus (Mrs. Mountain), Nymph commissioned by Venus (Miss Tyrer), The Graces (Miss B. Menage, Miss Seerle, Miss Bristow). Mortals: Prince (Mr. Byrne), Pedro the servant to the sisters (Mr. Grimaldi), the sisters (Mrs. Byrne and Miss Vining), Cinderella (Miss Decamp). With a variety of Pantomimic characters. [Summary: Venus and her court relax to music on Mt. Ida. In an outburst of delight Venus greets Cupid who affirms that they have captured the Prince in a silver net. He sees Cinderella and Cupid fixes an arrow in his heart. Sc. 2. Prince's Palace. The Prince starts up from bed and seeks frantically the beautiful figure that possesses his heart. He sends invitations to the ball. Sc. 3. Cinderella in the kitchen, surrounded by implements. Pedro tries to help her as she sings "Heigho, Heigho." The sisters join in to mock her. Pedro brings Cinderella food after they leave for the ball. The Nymph appears and transforms her with the touch of a wand. Pedro brings the pumpkin, mice, and lizards that become the transport and entourage to the ball. A grand dress descends from the clouds and fixes on Pedro. The Nymph warns Cinderella about midnight, she enters the carriage and goes to the palace. Sc. 4. The Palace Ballroom, with splendid banquet and music. The Prince sees Cinderella in the dress of his dream and is enchanted. He decorates her with a scarf and diamond ring as tokens of his love. Midnight comes, but Love moves the clock's hands backward, as if to give them another hour. Pedro's watch shows midnight, however, and he's worried. The clock strikes creating confusion. Her dress changes, Pedro's dress flies off too, and he "commits many laughable blunders by jumping over the tables etc." (p. 14). The Prince finds the slipper, kisses it, and places it against his bosom. Sc. 5. On the road. Cinderella is in rags as the Prince's men pass by. The Nymph appears to sing a song of comfort. Pedro enters with the pumpkin, and they go home. The sisters return and the announcement of the Prince's search is made. Sc. 6. Mt. Ida, where Venus, Cupid, and the Nymph sing of their triumph. As they do so the Prince comes with the slipper, various candidates try it on, for ludicrous effect. Pedro introduces Cinderella. The Prince looks into her face lovingly and the slipper fits. She produces its mate from her bosom. The Nymph enters, Hymen attends with his torch, and the Prince and Cinderella kneel at the altar and are made happy. She forgives the sisters and introduces them to two noblemen.

The critique and its publication have been ascribed to Mr. James. He notes that the grandeur and magnificance of the grand tale has rarely been equalled, never excelled to the infinite credit of the ballet. "It is perhaps one of the happiest tales that possibly could be selected to instruct and amuse the rising generation. Too much cannot be said, where the morals are kept in view, and virtue held forth in such fascinating colours. How lovely is virtue! How base and degrading is vice!" (p. 20). The story, which follows the critique is based on Samber's translation of Perrault, where after the first night at the ball Cinderella asks Charlotte for one of her dresses but is denied and mocked as "Cinderbreech" for playing "Miss Pert." Another edition of this work was published in 1808.]

Harlequin and Cinderella; or, The Little Glass Slipper. A New Pantomime. Anon. 1820. The application for permission to perform is registered with the Lord Chamberlain by John Fawcett 20 March 1820, with performance at the Theatre Royal, Covent Garden, beginning 22 March 1820. The pantomime is in manuscript, a part of the Larpent collection, no. 2144, in the Huntington Library. The manuscript is five pages long and includes 14 scenes of dialogue and choruses, in couplets. Characters: Prince Calidore, afterwards Harlequin; Baron Pomposini, afterwards Pantaloon; Pedro, his servant, in love with Cinderella and afterwards Dandinee; the Baroness, afterwards Clown; Clotilda and Tabitha, two sisters; Cinderella, afterwards Columbine; Finetta, the Fairy Godmother to Cinderella. [Sc. 1. Recitative by Cinderella on her scullery work, her "doom." Sc. 2. The Baron receives news of the ball and reads the invitation that admits the Baron, his lady, and her two daughters. Sc. 3. Finetta the godmother appears, and tells "Moth and gaudy Fly" to fetch the pumpkin, trap with dappled mice, the sleek , fat, "old grey whisker'd Rat" in the barn, "six dainty Lizards green," and changes Cinderella's dress for the ball, with glass slippers to crown all. Sc.4. Finetta warns Cinderella about the midnight deadline when she must "be at home." Sc. 5 Finetta punishes Cinderella for spurning her command. Cinderella pleads for mercy. The Baroness sides with the Fairy godmother's scolding of Cinderella. But Finetta drives them all away, informing the Prince that Cinderella was the beautiful maiden at the ball that he so loved, and transforming Cinderella into Columbine, the Prince into Harlequin, the Baroness into a clown, the Baron into Pantaloon, and Pedro "thou poor enamour'd loon" into Dandinee; that is, until the lost slipper be found. The text then skips to Sc. 14, where Finetta announces: "The slipper found, your task is o'er, / The pow'r to punish, is no more--/ But in Finetta's Temple, this pair shall prove / The joys that wait on constant love! / Here Cinderella this prize shall win / And in Wedlock's bonds be join'd with Harlequin."]

Songs, Duetts, Concerted Pieces and Choruses in the New Comic Opera, in Three Acts, called Cinderella, or the Fairy Queen and the Glass Slipper. The Music composed by Rossini containing choice selections from his operas of Cenerentola, Armida, Maometto 2do, and Guillaume Tell. The scenery by Messrs. Grieve and Finley: The Whole arranged and adapted to the English Stage by and Produced under the direction of M. Rophino Lacy. Performed for the first time at the Theatre Royal Covent Garden, Tuesday, April 13, 1830. London: Wm. Kenneth, 1830. [See also Lacy's Acting Edition under Opera, below, which includes stage directions absent from this edition. This version was frequently performed in America in the 1840s. (See Opera , below). Cast: Felix, Prince of Salerno (Mr. Joseph Wood), Baron Pumpolino of Montefiesco (Penson), Alidoro the Prince's Tutor (Stansbury), Dandini the Prince's Valet (Morley), Pedro the Baron's servant (Keeley), Cinderella (Miss Mary Ann Paton), Clorinda and Thisbe, daughters of the Baron (Cawse and Hughes), the Fairy Queen (Miss H. Cawse); Hunters, attendants, pages, grandees, visitors, Tyrolese Dancers, Sylphs, and Fairies. [Act I: sc. 1. A chorus of fairies welcome spring with its magic--music from Armida. The Prince enters, looking for magic. Sc. 2. Hunters' chorus from Guillaume Tell. Sc. 3: A trio, suggesting a plot akin to Rossini's opening scene, with Clorinda and Thisbe complaining about dress, hair, joy, etc. Cinderella sings repeatedly her "Once a King there chanc'd to be" song, to the objection of the sisters. The Fairy Queen appears as a beggar asking for charity. In a quartet the sisters scorn her and Cinderella pities and feeds her. Alidoro appears, announces the Prince and the bride search. Clorinda and Thisbe become increasingly abusive of Cinderella. She sings her "now run here, now run there" song. The Baron awakens to the commotion, disclaiming the noisy daughters, and tells, as in La Cenerentola, his dream of the ascending Jack-ass. Sc. 4--unmarked in the libretto. The Prince, presumably in disguise, in recitative explains his visit (his friend has informed him that he will find his bride in this house); he meets Cinderella. In Rossini's duet they question each other and fall in love. Presumably Dandini disguised as the Prince extends the invitation to the ball. Cinderella asks if she might go, if only for an hour. The Baron mocks her in a "concerted piece" from Cenerentola in which Alidoro asks after the third daughter, Angelina. The Baron insists she's dead. As in Rossini's opera the quintette sings of their uncertainty and doubt. End of Act I. The libretto skips then to Act II. Sc. 5. Presumably, the people have in the meantime arrived at the Grand Ball. In a "Dialogued Quartett" the sisters flirt with Dandini, thinking he is the Prince, and Dandini reveals to the Baron his valet status. They sing a rage and confusion duet. Sc. 2. A chorus from Guillaume Tell comforts the lonely Cinderella--"Thy friends are nigh!". Sc. 3. The fairy queen appears (music from Maometto, 2do), prepares Cinderella for the ball, and gives the midnight deadline, warning "Mock not the Fairies' power." Act III. sc. 1: Chorus singing about dancing to music from Maometto. Sc. 2(?) Tyrolese dances by Mesdames Vedy, Bedfore, and Mr. Albert, with men's and women's choruses about joy and the swift flight of time, and a full chorus on how they will praise the evening when they return home to "our native mountains." The Prince and Cinderella sing a duet from Guillaume Tell about their fear of waking or breaking the spell. Sc. 3 (?). The Corps de Ballet performs to "Pas de Soldats," from Guillaume Tell. The libretto then marks a "General Waltz" from Guillaume Tell. Sc. 4 (?). The Prince laments some "Demon's opposing malice," as the chorus comments on his raging passion. Presumably the plot is now following Perrault's glass slipper scenario, perhaps through mime? The next item in the libretto is the chorus hailing Cinderella as Queen. Sc. 5: Finale (Cenerentola). Cinderella sings her song again, now with words defying sorrow: "Now with grief no longer bending / Shall my heart neglected sigh! / Like the lightning swiftly ending, / Sorrow's clouds for ever fly!" The chorus picks up the last two lines to end the opera.]

Cinderella: A Burlesque Extravaganza by Albert Smith (1816-1860). London: R. Hodson, 184?. 34 pp.

Cinderella; or, The Lover, The Lackey, and The Little Glass Slipper: A Fairy Burlesque Extravaganza by Henry J. Byron. London: Thomas Hales Lacy, 1861(?). First performed at the Royal Strand Theater on Wednesday, 26 December 1860. Directed by W. H. Swandorough and C. Melville. Scenery by A. Callcott and Broadfoot. Costumes by S. May, Mrs. Richardson. Machinery by Mr. Squires. Properties by Mr. Grogden. Perruquier, Mr. Clarkson. Ballet invented and arranged by Miss Rosina Wright. Music by Frank Musgrave. Cast: Prince Poppetti, Prince of Salerno and of pretty fellows (Miss M. Oliver); Dandino, his valet and "a very deep one" (Miss Charlotte Saunders); Aldoro, his tutor (Mr. Poynter); Baron Balderdash, "a slightly damaged edition of the "Last of the Barons," bound in calf, three vols in one, by no means lettered, and very generally cut" (Mr. J. Clarke); Buttoni, a page of the "Last of the Barons" (Mr. H. J. Turner); Clorinda, the Baron's eldest daughter, an oldish young person of the gushing order, very hard upon Thisbe, but remarkably soft on the Prince (Mr. James Rogers); Thisbe, the Baron's second daughter (Miss Lavine); Cinderella, the Baron's youngest daughter (Miss Maria Simpson); The Fairy Queen, Cinderella's Godmother (Miss Kate Carson); Honeydew, a Fay (Miss Lester); lords, ladies, lackeys, fairies, etc. [Synopsis, as printed in the Programme of Scenery and Incidents: 'Sc. 1: A Forest Dell. General rising of the Fairy population--their Queen relates a famous history, and is interrupted by the arrival of a stray beau--A charming Portrait in an oak frame--Dandini, being excessively inflated, is eventually blown up--the Prince of Salerno assumes the dress of Dandini, and, seeking change, passes off a light sovereign for its mere valet. Sc. 2: Apartment at the Baron's. How Cinderella complains that she leads a life by the galley fire, and is called over the coals by Clorinda--How Thisbe lets down the Baron, and how the Prince makes up to Cinderella. IMPOSING PROCESSION OF ONE! How the supposed Prince is brought on, and how the real Prince is taken off--How the Balderdash family is put to shame by the inopportune appearance of Cinderella. Sc. 3: Another Apartment at the Baron's. Great indignation meeting of the Prince with Dandini, who, having tasted the sweets of a powerful appointment, experiences the bitters of a powerful disappointment; and how he is kicked down stairs for injudiciously showing up his master--How Dandini wounds two birds with one heartless-tone--How the two birds fly at each other--How the parent bird interrupts their beak-ering, and keeps up their peckers in a double sense--I'n segreto d'Importanza. Sc. 4: The Baron's Kitchen. In which a train of thoughts passes over the sleeper, and Buttoni's tender, missing the junction, arrives at an unhappy terminus--How Cinderella's Fairy Godmother redeems her pledge and "takes her out"--TO THE BALL. Sc. 5: Corridor in the Prince's Palace. How the Baron is disappointed of his castle in the air, and of his baronial haul--How Clorinda does not go off, but how her admirer does. Sc. 6: GRAND BALL ROOM AT THE PALACE. How Miss Rosina Wright, assisted by a highly efficient and peculiarly distracting Troupe of young ladies, executes a GRAND BALLET! How all the Company STRIKE! How the Mysterious Lady strikes the Prince--How her resemblance to Cinderella strikes the Sister--How the Band strikes up at the command of the Prince--How the Clock strikes at the hour of Twelve. How Cinderella, obeying her instructions, strikes home--How a sudden idea strikes Poppetti--How Cinderella strikes in among her rivals--How the Carpenters "strike" the scene, and discover the striking Last Scene, which it is hoped may prove a TREMENDOUS HIT! Sc. 7, and Last being A GORGEOUS TRANSFORMATION SCENE, THE DOMAINS OF DELIGHT!!' This is the first pantomime to introduce Buttons--"Gard'ner, butler, groom, odd boy, what not." Cinderella has been sixteen years in the Fairy Queen's care. FQ remarks on the folly of the king's forcing the Prince to choose his mate precipitously, but announces that all will be well--she will see to that as she makes the face of Cinderella appear in an oak tree, with a ray of sunlight round her countenance. The Prince is staggered. In Sc. 2 Clorinda plans to wow the men by raving about Tennyson "with girlish rapture." When the disguised Prince meets Cinderella he kisses her which makes her feel "cheap," though he says she is all the more "dear" for it. In Sc. 3 the "segreto d'importanza" is, of course, that Dandini is valet, not Prince. In Sc. 5 Dandini makes a play for Clorinda who thinks it over and concludes having him is better than being a nun in white, burying her beauty. But when she responds he flees--duty calls!]

Cinderella, or, Harlequin and the Magic Pumpkin, and the Great Fairy of the Little Glass Slipper: A Pantomime written by the Brothers Grinn. London: Published and sold in the [Royal English Opera] Theatre, [1864]. First performed Monday, December 26, 1864. Cast: Hobgoblin, a discontented Demon who lives by himself and won't give up his Hermit for any quantity of spirits (Mr. Lingham); Papillion, a Fairy who's "beautiful as a Butterfly" (Miss Craven); Prince Ugolino, who has carried out the direction "laugh and grow fat" (Mr. E. Danvers); Grimguffin, his Private Tutor (Mr. Naylor); The Baron Pumpolino (Mr. W. H. Payne); Pedro, his head man and foot-man (Mr. F. Payne). Thisbe and Clotilda, the Baron's haughty daughters (Mademoiselle Parkinu and Douglasoni); Cinderella, the youngest daughter (Miss Clara Denvil); Squaretoso, the Grand Chamberlain (Mr. Dixon); Herald, with a solo on his own trumpet (Mr. Blowhard); Harlequin (Mr. Fred Payne); Columbine (Mademoiselle Esther); Clown (Mr. Harry Payne), Pantaloon (Mr. Paul Herring). [Sc. 1: Hobgoblin's Hermitage on the Mountain Top. Hobgoblin, looking like Robinson Crusoe, plays solitaire whist with two dummy hands to amuse himself and his fiend pets, a Demon Dog, a Goblin Goat, a Phantom Parrot, and a Cabalistic Cat, who perform wild dances around him but are unable to divert his attention. Papillion appears and they discuss the Prince, whom Hobgoblin looks upon as his own--a perpetual bachelor. Papillion says she will get him to marry, but Hobgoblin insists Ugolino is no such nincompoop. Sc. 2: The Butterfly Haunt in the Dell of Delight. Papillion introduces Hobgoblin to her domain where beauties are everywhere and enter into the Grand pas de Papillions, composed and arranged by Mons. Desplaces and danced by Mademoiselles Duchateau, Montero, and Bonfanti, and the ladies of the corps de ballet. Hunting horns sound and Papillion and Hobgoblin make a wager over whether the Prince can be seduced. The Prince appears with Grimguffin, making jokes about hawking. As the Prince rests, Cinderella appears in a vision before him, and he is overwhelmed by her beauty. He sings a song called "Great Sensation" and gets so excited that he falls into Grimguffin's arms. Sc. 3: Hall of Baron Pumpolino's mansion. The Baron is trying to shave with the assistance of Pedro. Repeated knocks at the door, produce first the milkman, then the baker, then the butcher, and finally the postman who brings the invitation to the ball. Cinderella wishes she could go but the Baron slaps her and then the sisters attack her too. They hurry off to get ready while Cinderella commiserates with Pedro. Sc. 4: The Baron's Kitchen. The Baron gets out his fiddle to give Thisbe and Clotilda dancing lessons, then they set off, leaving Cinderella by the fire. A vision appears in the fireplace as Papillion enters and prepares Cinderella to awaken the Prince's passion. Milliners and hairdressers appear--artists all--and Cinderella is transformed, while elves fix up Pedro. Pedro fetches a pumpkin, lizards, and mice, and the kitchen changes suddenly into--Sc. 5: A View of the Illuminated Palace. Papillion admonishes them to leave by midnight and a grand march ensues to the Palace. Sc. 6: Grand Vestibule leading to the Ballroom. A pantomime entrance as the Baron mistakes a chamberlain for the Prince and bows profusely. Russian, Dutch, & French highnesses appear, along with a highland chief and an O'Donoghue, to the Baron's amusement as he samples all the dishes. Sc. 7: The Ballroom in the Prince's Palace. 11:00 p.m. Cinderella appears and the Prince instantly recognizes her as the one in his vision. The Baron is beside himself as he thinks she might be Cinderella. Pedro bites the Baron's finger to prove he's awake. Hobgoblin appears, filled with anxiety. He waves his hand and the clock jumps back half an hour. So Cinderella dances further, this time the pas mythologique à la Louis XIV, composed by Mons. Desplaces and danced by the same dancers as before. At the end the clock strikes midnight and Cinderella and Pedro are exposed. She flees and the stage darkens as Hobgoblin hovers behind the throne. The Prince is left with the glass slipper. Sc. 8: Exterior of the Baron's Mansion. Lizards and rats run away; Pedro lugs off the pumpkin, and the Baron returns emptying his pockets of all the loot he purloined. A trumpet is heard announcing the Prince's search. Sc. 9: Chamber in the Prince's Palace. Females of all nations try on the slipper, including Thisbe and Clothilda. Cinderella appears but is banned by the Chamberlain. The Prince sees her and insists she try. 'Tis she. Hobgoblin groans and declares he'll be a congenial goblin hereafter; Papillion approves and suggests he take his time from her. Sc. 10: The Fairy's Chronometer and the Flight of the Hours. The Prince is changed to Harlequin, Cinderella to Columbine, Squaretoso to Pantaloon, the Baron to a clown, and they dance. Sc. 11: Booksellers, Clockmakers, Auctioneers, and Perfumers perform with tricks and novelties and a galoppe by Fred Payne and Mademoiselle Esther. Sc. 12: Wimbledon Common, with performances by the National Rifle Association, the Zoological Prize Meeting, a pic-nic--"something out of the common"--and DONATO: A New Grand Unusual pas de Trois ___ (guess, lest it be "Payne-ful to enlighten them"). Sc. 13: Hobgoblin's Rural Retreat Re-modelled. Papillion appears in necromantic garb to claim her wager. The Harlequinade joins in as the scene transforms into The Christmas Revel of "The Fairies in their Submarine Retreat."]

The Grand Pantomime Cinderella; or, Harlequin and the Glass Slipper, the Magic Pumpkin, and the Butterflies' Ball and Grasshoppers' Feast. Written for the Crystal Palace by E. L. Blanchard. London: C. Dickens & Evans: Crystal Palace Press, 1874. This text is available in the Lilly Library, Indiana University, or on Readex microfiche. Cast: Prince Felix, Bigwiggo his tutor, Baron Pumpolino and Clotilda and Thisbe, Cinderella, Pedro, Fairy Goody Goody and numerous Butterfly fairies, huntsmen, musicians, and courtiers. [Sc. 1: The Curious Cabinet of Crotchets. With the singing of the air, "Glorious Apollo," Harmonia, the Spirit of Music, enters in a car with her attendants Do, Re, Mi Fa, Sol, and La. Music praises her faithful instruments, as does First Fiddle, making puns on composers like Coward, Sydenham, and Mann, noting that only in the Crystal Palace does English Opera show her pretty face. "Two nigger minstrels" enter observing, "The public like to see my features black, / White minstrels fail, as they have failed before, / But 'Moore and Burgess' go on more and more." First Fiddle praises Italian Operas, and actors enter from all sides with scrolls on Italian operas. Then a poor Bohemian girl comes on with a scroll labelled "English Opera"--"Poor English Opera--so kept at a distance that folks would have almost forgotten her existence, were it not for Miss Blanche Cole, who is good in every role. Promenade Concerts (made up of musical notes and ice cream), along with Music Hall and four little volumes labelled English Songs, Scots Songs, Irish Songs, and Comic Songs. Then Dance Tune becomes more pronounced and Ballerina, the Spirit of Dancing, attended by Hop, Skip, Jump, Quadrille, Waltz, and Hornpipe all enter to sing the praises of dancing. But they end their bickering when all agree that for Cinderella they all have places. The scene ends with Harmonia singing "I never was meant for the sea." Sc. 2: The Dell of the Dragon-Flies. The Butterflies praise Cinder, who defended even her mean sister Clo. A subdued trumpet call brings the butterflies together for the Grand Butterfly Ballet. Hunters with a large buck slung on their shoulders, Prince Felix, and his tutor Bigwiggo enter, unpack their hamper and have a picnic. The Prince prefers bumpers of wine to logarithms and double equations. He takes a nap and Fairy Butterfly gives him a vision of Cinderella. Bigwiggo awakens him, after checking his large clock, but he would rather dream of her face. Sc. 3: Hall of the Baron's Mansion. Pedro, on his way to shave the Baron, repeatedly answers the door for the Milkman, the Baker, Butcher, and then the Postman, who presents an invitation to the Prince's Ball. Cinderella appears and the Baron slaps her and so do the sisters. She is ordered to help them and they all call her to help them at once. Sc. 4: The Baron's Kitchen. More work for Cinderella, though Pedro is sympathetic and helps. The Baron plays fiddle so that the sisters can practice. Pedro can't resist a dance too. After the Baron and sisters leave for the ball Cinderella stirs the fire. The poker, tongs and shovel come to life and dance to "The Song of the Tongs." Goody-Goody appears. Pedro supplies the pumpkin, mice in a trice, and lizards. Sc. 5: A Glimpse of Fairyland. Little elves dress Cinderella from top to toe and with glass slippers. Sc. 6 Grand Vestibule Leading to the Ball-Room. The Prince sings "Will a Monkey." Bigwiggo introduces representatives of various countries. Sc. 7: The Ball-Room in the Prince's Palace Looking out upon the Grounds. Cinderella arrives and captivates the Prince. They dance, then sit to watch a Terpsichorean game at cards that ends with a remarkable shuffle. Midnight arrives and Cinderella and Pedro appear in their old attire. Sc. 8: Exterior of the Baron's Mansion. The Baron thinks back over the evening before. The Prince arrives with the slipper, though Clotilda and the Baron rage, the Prince discovers Cinderella in an instant. The shoe fits--"'Tis she!" The Fairy Godmother then invites everyone to see the "Grand Transformation Scene, entitled A Fairy's Wedding," with dances by the Orange Blossoms and Forget-me-nots in the Land of Purity and Truth; then the Harlequinade dancers.]

Cinderella and the Glass Slipper, by Charles Rice (1819-1880). London: E. Rimmel,1875. Produced at the Theatre Royal, Covent Garden 1875-76. Cast: Honeydew, Queen of the Bees (Miss St. George), Papillion, Queen Butterfly (Miss Emma Walters), Cinderella (Miss Amelia), Salprunella (Mr. W. B. Fair), Blousabella (Mr. J. H. Wainswright), Baron Blunderboar (Mr. J.H. Rogers), Prince Plenteous (Miss Nelly Power), Flunkini, his valet (Miss Maud Brennan), Sambo (Mr. F. Vincent), Farmer Barleybrow (Mr. Bradshaw), Guests, Fairies, Servants, Countrymen, Insects, Children, etc. [Sc. 1: A Beehive. Papillion and Honeydew squabble over food and recall the naming of Prince Plenteous and the curse Honeydew put on him so that he should die if, on the day of his coming of age, he is still unmarried. There's no retracting the spell of a spelling bee. There is to be a ball tomorrow, his coming of age day--an insect ball--his last chance. Sc. 2: Giant Cornfield and Grand Ballet, with a Procession of the Insects. Sc. 3: Road near the Castle. Farmers and reapers rush on stage in pursuit of Cinderella, who calls for help: "Save me!" The Prince intervenes. The farmers accuse her of stealing corn from a sheaf. She says she was only gleaning, sent out by her mean sisters to do so. The Prince declares his love for her, though he says he cannot marry her. She defines his boldness as "Vice." Barleycorn arrives with the Beadle to arrest Cinderella but the Prince knocks them down. Flunkini inquires into the case, marvelling at the Prince's rapture. Baron Blunderboar appears, lamenting his poverty and sings his "Song of Misery." The Prince offers tickets to the ball. Sc. 4: The Baron's Kitchen. The Ugly sisters demand breakfast, which they can't have because Sambo has eaten most of the supplies. The Baron announces the ball, hoping to solve the family woes by marrying off either Salprunella or Blousabella. The Prince arrives in disguise. So does Honeydew, who, after the others leave, transforms Cinderella into her ball apparel. Sc. 5: Portrait Front Chamber. Salprunella and Blousabella primp. Sc. 6: Road to Castle. Cinderella's carriage crosses the stage followed by a procession of women from all nations. They are announced by Flunkini. Sc. 7: The Ball Room, with dances of all nations. Honeydew warns Cinderella that midnight is approaching. She says there is still time. Sc. 8: Road as Before. Cinderella limps across the stage with one shoe, troubled by her gross ingratitude. It is raining and the Baron and stepdaughters get soaked. (Text incomplete--last scene missing). Charles Rice also wrote a Red Ridinghood and a Babes in the Woods.]

Cinderella. Dramatized from the Original Fairy Tale. Children's Performance at the New Institute Hall under the auspices of the Auxiliary Society of the N.O.A.A. Newark, N.J.: A. Stephen Holbrook, 1876. Cast: Cinderella, The Fairy Serena, Oberon the King of the Fairies, Fays and Fairies, First Haughty Sister, Second Haughty Sister, Ladies of Quality, The Prince, The King, The Queen, Dromio, Herald, Gentlemen of the Court, Pages, Troubadour, Guards, Ushers, Coachman, Footman, Attendants, etc. [Act I. Sc.1: Cinderella, by the fire, soliloquizes about parties she knew when her dear mother was alive. She lent Cinderella a diamond pin, and they had real punch and real kissing and ice cream. Meanwhile the haughty sisters call for her, then appear in full dress for the ball. They scold her and leave with mocking laughter. Cinderella sits alone, cries, then watches them from the window. Clorinda is wearing Cinderella's diamond pin. Its sparkles cheer her up, and she goes to her sisters' room to imagine that she is belle of the evening. Sc. 2: As she enjoys her dress-up fantasy the Fairy Godmother speaks from behind the screen. Cinderella nearly faints for fear that the sisters have returned. Then the Fairy reveals herself, and Cinderella gets caught up in the beautiful idea of her attending the ball. She fetches the pumpkin, rat, mice, and lizards for the Fairy. The carriage springs up through a trapdoor and the horses, coachmen, etc., appear from the wings as FG projects her magic by throwing mice, etc. into the wings. The Court of Fairies sing her on her way. Oberon appears, and Fairy Serena wishes he would spend more time with her. He says he has to look after all the messes men make, and Serena says she must look after the shy maiden Cinderella. Act II. Sc.1: At the ball the Prince is bored. Cinderella slips past the ushers. Dromio is first to catch sight of her, and they dance a minuet and polka. The Prince sees her dancing the polka and asks her to sit with him. She'd rather walk. They talk about whether the Prince has seen her before, then she sits with the Queen to listen to "The Harp of the Troubadour." She inquires about the time, but the Prince insists it is early, so she dances a waltz with him as the clock strikes midnight. She sneaks away and disappears. All that can be found of her is a little glass slipper and report of a little beggar-girl. Act III. Sc.1: The Herald proclaims that the Prince has vowed by the Moon and Big Dipper to marry the lady who puts on the slipper. Women crowd around to try, including the haughty sisters. Dromio leads out Cinderella while the crowd mocks her--"Why, it's the little beggar girl!" The crowd is amazed when the slipper fits her, however. Act IV. Sc.1: Back at the ballroom the Prince and the King and Queen wait. Trumpets sound and Dromio and the guards enter with Cinderella in her old cloak and hood. The royals are aghast, but the Prince says he will keep his word. As he approaches Cinderella and looks under her hood he starts back in astonishment. Fairy Serena appears instantly, and with three wand waves transforms Cinderella's garb. "Do you really, truly love me still?" Cinderella asks? "Love you!" he replies. "I always have! I always will!" All are pleased and Cinderella kisses her haughty sisters. Serena then blesses the audience to close the play. Music plays and a procession appears, with Little Red Riding Hood, Beauty and the Beast, Hop-o'-my thumb, Puss in Boots, Blue Beard and his seven wives. The curtain falls on a grand tableaux of Sleeping Beauty and Prince Fortune surrounded by Fairies.]

Cinderella and the Little Glass Slipper; the Grand Christmas Pantomime Founded on the Well-known Nursery Story, written expressly for this Theatre [Theatre Royal, Plymouth], by T. A. Palmer. Plymouth: Keys & Son, 1876. Opened December 26, 1876. Music by Fred Romia. Scenery by Mr. Baker. Costumes by Mrs. Blower. Mechanical effects by Mr. Kessel. Dances by Mr. Stilt. Limelight effects by Mr. Reeve. Cast: Baron Pomposolo, a heavy father who makes light of a shady character (Mr. T. A. Palmer), Blousabella, in voice so loud that in her rage she's more than forte (Mr. E. Chessman), Verjuiceynia, a maiden vergin' in forty too (Mr. J. R. Newcombe), Cinderella, a 'lady help,' more accustomed to a broom than to a carriage (Miss F. McCarthy), Prince Prettifello, whose behavior is as handsome as his person (Miss Nelly McCarthy), Flunkeynini, his valet, whose aspirations extend to anything but H's (Mrs. Fred Romia), Dr. Syntaxio, a tutor who wishes to keep his pupil in his eye (Mr. F. Harcourt), Hungryno, a blank page waiting to be filled up (Mr. John Dallan), Diavolo, as promoter of all kinds of mischief from creeds to combustibles (Mr. J. Elmore), Malynanto, Malevolento, and Demonio, Diavolo's mischievous myrmidons (Mr. Stilt, Mr. St. Albyn, Mr. Cowell), Lollippoppopepperminto, stick-in-waiting and grand chamberlain (Mr. Hurford Marshall), Openeyes, town crier (Mr. S. Franks), Laidismayde, the object of Hungryno's passion and Blousabella's rage (Mrs. Ada Gouge), Cupid, God of Love, the celebrated archer, whose Pa was Mars (Master D. McCarthy), Psyche his sweetheart, who though no archer is yet more arch than her own beau. The Harlequinade: Clown (Mr. John Dallis), Harlequin (Mr. W. Dale), Pantaloon (Mr. C.T.Butler), Columbia (Miss McCarthy), Harlequin a la Watteau (Miss A. Gouge), Prize Policeman A I (Mr. G. Budd), Sprites (Mr. Hurford and Master Frederick). [Written in clever couplets, with puns a-plenty. Sc. 1: A Winter Landscape. The imps plan tricks and mischief against the Baron and his family. Cupid and Psyche enter planning Cinderella's wedding. Sc. 2: The Fairies' Summer Palace. Dr. Syntaxio reminds Prince Prettifello of the ball. The Prince sees his dream girl (Cinderella) reflected in the water. Cupid identifies her and tells him her name. Syrens appear and dance around the Prince. Flunkeynini enters with bantering. Sc. 3: Exterior of Baron Pomposolo's House. The Baron compares himself with King Lear, whose older daughters gave him so much trouble. Cinderella enters from her dreams. Diavolo appears, asks her to run away with him, and offers to marry. Cupid drives Diavolo away. Psyche advices Cinderella to be patient and her true love will come. Trio. Sc. 4: Hall in the Baron's House. Turmoil, with ugly sisters making demands on Cinderella, tradesmen at the door with broker bills. A monkey chases the tradesmen out. Hungryno tells Laidismaide that he has saved money in his sock and proposes to her. She rejects him. The stepsisters bicker as officers arrive. The household fears they are from the sheriff, but they turn out to be the Prince and Flunkeynini delivering invitations. The monkey reappears and shakes hands with the Prince. Cinderella enters uninvited and is scolded by the sisters. A cat joins them. Cinderella leaves the Prince with the stepsisters who chatter. Sc. 5. The Boudoir. Hungryno and Laidismayde complain about work. Blousabella and Flunkeynini enter. She's "spoons" on him. They scold Hungryno and Laidismayde for holding hands and humiliate Cinderella for not having their clothes ready. A Beggar Woman comes by and is repulsed by the sisters. Cinderella enters, wondering what use a ball invitation would be anyway. The Beggar Woman transforms into the Fairy godmother and changes pumpkins to coaches, mice to horses, lizards to footmen, etc., so that Cinderella may attend. Sc. 7: Corridor of the Palace. The stepfamily arrives, then Cinderella. The ugly sisters seem to recognize Cinderella, though it seems too incredible to them. Various international princesses arrive--from England, Turkey, etc. Sc. 8: Illuminated Ball Room in the Palace. the Prince enters and is entertained by the Black Currants of Booza Bamberra Bambouk. The sisters inquire about the magical princes. At the Grand Ballet the clock strikes midnight and Cinderella flees, losing her glass slipper. Sc. 9: The Baron's House, as before. Cinderella laments her fate as demons blocked her way to escape the Palace and thus she lost her shoe. They stare at Cinderella and conclude it could not have been she at the ball. The Towncrier announces the slipper test...[last pages are missing].]

The Gorgeous Christmas Pantomime, entitled Cinderella, or, Harlequin Prince Paragon, The Little Glass Slipper and the Demons of the Realms of Discord, written expressly for this Theatre [Prince of Wales Theatre, Birmingham, 1877-1878] by Frank W. Green (1842-84). Birmingham, Warwickshire: J. Upton, 1877. Cast of the Harlequinade: Harlequin (The Celebrated Mr. Will Langley), Columbine (Mddlle. Ada Riviere), Harlequina (Miss H. Pearsall), Pantaloon (Mr. Charles Appleby), The Famous Clown (Jolly Little Lewis). [Sc. 1: Cave of the Demon Hideoso in the Realms of Discord. Malice and Spite enter singing "Nobody knows the mischief we shall do," worried that their master will think they ain't half bad enough. Hideoso appears pleased at the discord throughout the nation because of the strikes that "set master against man and man against master." Malice will stir up marital rows and sea disasters, and Spite will burn down poor men's houses and spread ill-fame that will make creditors ruin good firms. Colorado Beetle enters, eager to destroy crops, Phillips street market, and Mrs. Aria. He'll even eat tram cars and municipal buildings. Hideoso is pleased and sets them all against good, industrious, and witty Cinderella, who is befriended by her fairy godmother. FQ enters with Beeswing, Kindheart, and Brighteyes, who confront the demons: "Young girls should be without a single care; / Happy as birds that sing up in the air"; but "for shame, for shame" for what's been done to Cinderella. The good fairies pledge cheer for Christmas and the demons pledge disaster. Colorado Beetle will get into every sausepan, if he can, and spoil it. The ensemble departs singing "Good bye, Polly." Sc. 2: Forest of Fairlight in the Realms of Paragon. Dandini, Major Domo, and the Hunting Train enter with banter. they've had no luck hunting. The closest to finding a stag is there "staggerin." Baron Pumperino enters; he's out poaching. They mention the Prince's search for a wife and retire to the Lodge to drink, singing "Ship ahoy!" Cinderella enters gathering sticks and is assaulted by Thickhead and Geyser. Prince Paragon responds to her cry and drives the lechers away. He reassures Cinderella and asks for a kiss. She declines and he sings "The Bright Sunlight," which tells of his search for a wife among the Yankees, Russians, and Turks. As he kisses his hand to her the Fairies appear and praise him as hero who will be conquered by true love. Sc. 3: Woodland Dell on the Borders of Fairyland. The fairies rehearse the virtues of Cinderella and Prince Paragon. As they sing "Beauty, Sleep," the Prince enters telling how he has dreamed of Cinderella's smiles. He sings "Eily Alanus." Sc. 4: The Robin's Nest Near the Frozen Lake. Messers. Jackson Haines and Arthur E. Mayo, the Imperial Star Champion Canadian Skaters of the World, execute a pas de deux, along with a mazourka by the Sisters Riviere, a ballet entitled "The Meeting of the Robins."

Sc. 5: Exterior of the Baron's Mansion in Queer Street. The Brokers' Men sing a chorus of "I wouldn't be an Emperor" as they pack off the Baron's furniture. The Baron enters lamenting that they have come for chairs but he's not com-for-table. He laments his circumstance with verses of "The Unfortunate Flute. Clawrinda, Spitina, and Dozy enter having been to market to buy a sheep's head, caster oil, and a herring, with gests about their poverty and desire for a pint of porter. They sing a concerted piece "Popple's Picnic, M.S.S." followed by "Home, Sweet Home." As they leave Cinderella enters dreaming of the Prince. He and Dandini catch a glimpse of her as she departs. The Prince expresses his love for her; Dandini sees only a beggar child. He calls the Prince naughty; he replies that if more princes loved as he did "we'd be more peaceable in Europe now." They sing a duet "I tickled her under the chin" and exit dancing as Thickhead and Geyser dash by lamenting the blow they received from the Prince and singing a duet "American" and dance on their own. Sc. 6: Kitchen in the Baron's Mansion. Cinderella bears up beside the fire:" It's never dark whilst one's a cheerful heart," she says, and sings "The day when you'll forget me." Dozy enters and gives her more work to do, allowing that she's in love too and sings "The Cows won't Milk. Spitina and Clawrinda come on fighting, sing "The Gainsborough Hat." Geyser, Thickhead, and Dozy appear as broker's men and the Prince appears disguised as a servant. Cinderella recognizes him instantly as her lover. He tells the group that the Prince has heard of their trouble and means to pay double and invites them to the ball. With that Clawrinda drives out the broker's men the ensemble sings "Tripping o'er the hills." Cinder wishes to go to the ball but is denied by the Baron and mocked by the sisers. In another concerted piece, "Turn away at the mangle Joe," all anticipate their desire. All leave but Cinderella--"Oh! how I'd like to go"--when Kindheart appears transforms the pumpkin, mice, and lizards into coach etc., then transforms her dress and off she goes to the ball, mind that she must return at midnight. Sc. 7: Cinderella's Coach and Ponies: a Grand Procession. Sc. 8: Outside the Prince's Palace. As Cinderella considers how varlets mistreat her and the Prince wins hearts by stealth, she sings "Captain Cuff." The Baron and the sisters arrive at the gate lamenting their poverty and singing "Under-fed Brigade." Sc. 9: Ball Room in the Palace. Hideoso plots his mischief. Dandini, disguised as the Prince meets the Baron's family. They sing "Don't mind me." The real Prince enters, wondering after Cinderella. The Baron, drunk, sings "Tum, tiddle, tuttle, tum." Cinderella arrives and all seems fine. But Hideoso, plotting with Spitfire, plans to use the clock against them. The Grand Ballet catches Cinderella off guard. She rushes out, losing her slipper. Sc. 10: The Road Home. The drunken Baron makes his way home along with Geyser and Thickhead, who sing "The Rivals." Sc. 11: Apartment at the Baron's. Dandini announces the slipper test. The sisters, encouraged by Hideoso, won't let her try on the slipper. Sc. 12: The Borders of Demonland. Beeswing laments Cinderella's plight The Prince and Dandini arrive singing "We tracked her footsteps in the snow." Hideoso drags Cinderella on stage, thinking he's got her. The Prince attempts to save her but is beaten. Then Brighteyes and Beeswing come to the rescue and Hideoso is defeated. Cinderella tries the slipper and it fits. Clawrinda claims Dandini as hers. The Prince announces that he wants the whole piece to fit the audience, to which Cinderella agrees, "Precisely." Sc. 13: Grand Transformation: The Dream of Leander!]

Cinderella: or, Harlequin and the Fairy Slipper. A Grand Comic Christmas Pantomime, by Edward L. Blanchard (1820-1889). London: Tuck and Co., 1878. Scenery and effects by William Beverly, Music by Karl Meyder, with Overture and "the following favourite Music Hall Tunes: 'Bloomsbury Square,' 'Real Jam,' 'When the Moon is Shining,' 'Hi Cockalorum,' 'Where was Moses,' 'Chink, Chink, Chink,' 'No Wonder when Trade is so Bad,' 'Branigan's Band," 'There's only Room for One,' 'Oh, Julia,' 'Turn out the Gas at the Meter,' 'Mabel,' 'Run for the Doctor,' 'More or Less,' &c., &c.," and Julia Woolf's new song "Cinderella." Costumes and Accessories by M. Wilhelm. Dresses by Mrs. May. Properties, Tricks, Changes, and Transformations by Mr. Alfred Hone. Machinery by Mr. J. Tucker. Gas Illuminations by Mr. Carter. Comic Scenes, Tricks, etc. in the Harlequinade by Charles Lauri and Fred Evans. "The fairy story re-edited and dramatized by E. L. Blanchard, author of all the Drury Lane Annuals, successively produced here for twenty-nine years." Choreography by John Cormack. Cast: Baron Pumpernickel of Grogswig (Mr. Frederick Vokes); Kobold, his trusty servant (Mr. Fawdon Vokes); Ella, surnamed Cinderella (Miss Victoria Vokes); Vixena the Spiteful and Pavonia the Proud, her sisters (Miss Hudspeth and Miss Julia Warden) Azor, the Poodle (Master Cullen); Prince Amabel (Miss Jessie Vokes); Wisewitz, the Prince's Tutor (Mr. Barsby); Bizarre, the Prince's Page (Miss Nott); Iris, the Spirit of the Rainbow and Fairy Mistress of the Glass Factory (Miss Sallie Sinclair); Silica, Crystal, Sparkle, and Alumina, her attendants (Misses D'Arcy, Bellew, Wilsom, and Bloomfield); Glass Goblins (Masters Gleam, Flash, Glint, Glitter, Caper, and Cutashine); Wild Boars (Messrs. Grunt, Growl, Grim, and Grizzle); Charcoal Burners (Messrs and Mesdames Smudge, Drudge, Budge, Fudge, and Trudge. The Hunting Party, Heralds, Guards, etc. (Messrs. Gobefore, Getbehind, Standaside, Bounce, Brag, and Buckrum). [Sc. 1: Mountain Pass and Woody Glen in the Black Forest, by Sunset. The Baron and Korbold, hunting the wild boar, stop to drink. A boar eats their picnic while the Baron drinks, then chases them up a tree. The Royal Hunting party comes by. The Baron claims to have slain 6000 boars. The Prince stops to dine and the Baron replies, "Thank goodness! Dinner-time has come at last." The fairy Iris appears to test their charity. The Baron insults her and the Prince gives her a basket of food and a purse. With music the Prince falls asleep. As "Where was Moses" is sung the Baron gobbles up as much food and drink as he can, then rests too, near the charcoal-burners' fire. Iris provides a vision of Cinderella to the Prince. He awakens but the vision vanishes. The Prince questions Wisewitz about the dream and gets a lesson in grammar and gender, instead. The Prince announces a ball, and offers gold, if he can find the damsel of his dream. Sc. 2: The Glass Factory of the Fairy Slipper in the Basaltic Valley. The Glass Goblins work away as Iris greets her attendants and asks that two slippers be made. The Goblins work away and produce them. Then a Grand Prismatic Ballet, by one hundred Coryphees, with Mdlle. Gosselin as Principal Danseuse. Sc. 3: Gardens of the Baron's Chateau. Violent bell ringing, then the spiteful Vixena and proud Pavonia appear from opposite directions with broken bell-ropes in their hands calling for Cinderella and making demands. Cinderella consoles herself with Julia Woolf's new song "Once there lived a little maiden / Scorned by sisters, pert and proud." Kobold comes with physic for the Baron who also enters, as an invalid. Cinderella offers a healthful gruel, but he will have none of it. Bizarre arrives with the royal proclamation. The Baron accepts for his two daughters but forces Cinderella into the background. Azor the Poodle enters and worries him in various ways. He assails the Poodle, then all sing "Run for the Doctor" as the Poodle recovers and all dance to the tune as the scene changes. Sc. 4: The Kitchen in the Baronial Hall. Vixena demands that Cinderella "bring my thingumies" and strikes her. So does Pavonia. Cinderella says that such smacks will only make her smart. The Baron rehearses dances with the girls, as the Poodle interferes. A dressing table is set up as the women adorn themselves. Cinderella protests one last time that she would like to attend the ball too, then they leave. She arranges her brooms and mops and has a Lancer Quadrille for herself. Iris appears and adorns her and Kobold, who supplies the pumpkin, white mice, rat and lizards. She turns a cabbage into a fine bouquet. With the "Galop from Gustavus 3rd" she sets out for the ball. Sc. 5: Corridor in the Prince's Palace. Guests arrive with tremendous knockings, including Pavonia and Vixena. The Mohawk Minstrels sing "Pretty Polly Pouter" and "The Runaway Musketeer" as the sisters flirt with Wisewitz, who talks more grammar. Sc. 6: The Illuminated Ball Room. 11:00 p.m. The Prince searches in vain: No Cinderella. Then she arrives. Wisewitz calls to choose partners for the first quadrille, but the Prince says he has chosen his for life. Midnight strikes, Cinderella flees, the Prince finds her slipper, and the Baron's daughters faint into everybody's arms. Sc. 7: The En-Coridor--by General Request, wherein there is much rushing in search of Cinderella and Vixena and Pavonia struggling to find an eligible escort. Sc. 8: Courtyard of the Baron's Mansion. Chanticleer the Watchman announces that it is "Past two o'clock and a snowy morning." Cinderella half changed from her ballroom attire falls on the steps "after the style of 'Jane Shore' in Mr. Wills's popular play." She sings of her confused heart. The sisters return, wishing they had never gone. The Baron and Korbold arrive in a sedan chair. He has no money small enough to pay them with but a cheque or a hundred pound note. The men leave grumbling. Bizarre and Wisewitz march in, with Heralds, Chamberlains and Guards to announce the slipper search. The Prince enters with the slipper. Pavonia and Vixena try. Then the Prince sees Cinderella: "It looks the size--it is--it's on--it's done!" Iris enters, blesses the scene and introduces the Grand pas Fantastique, composed expressly for the "Vokes Family" by Frederick Clay. Following the Transformation the Harlequinade commences, with Harlequins (Messrs. E. Dean & F. Sims), Columbines (Misses Fanny Fauri & Rose Tyrrell), Harlequin-a-la-Watteau, Clowns (Messrs. C. Lauri & P.Evans) and Pantaloons (Messrs. H. Lauri & Gellene).]

Cinderella; or, The Silver Slipper, by Charles William Hubner (1835-1929). Atlanta, GA.: Dodson & Scott, 1879. Cast: Crown Prince Manoa of Bimini; Cassim, the Royal Herald; Omar & Achmet, pages to the Prince; Cinderella; Ulrica, Cinderella's Step-Mother; Felis, who squints, & Ursula, who is fat and old, Ulrica's daughters; Fenella, a Fairy-Queen and Cinderella's God-Mother; Three Fairies, attendants upon Fenella; The King and Queen of Bimini, Courtiers, Guests, Attendants and servants of the Royal Household. Invisible chorus of fairies. [Act I. Sc. 1: Interior of a kitchen: Cinderella, ragged, disheveled, and exhausted, rises and sings an aria on the death of her mother. Sc. 2: Dressing room in Ulrica's mansion, Felis and Ursula learning manners. They scorn Cinderella, then leave for the ball. Sc. 3: Kitchen, as in Sc. 1: Fenella appears and performs the transformations. Act II. Sc. 1: An apartment in Ulrica's mansion. The clock strikes midnight, and Cinderella enters in her usual kitchen garb. Then at the opposite door Fenella enters, praising Cinderella's promptitude and reporting gossip of the grand impression she made at the ball. Cinderella talks about love--what is it? Cinderella will go to the ball a second time. Fenella disappears in a flash of light. Sc. 2: The stepsisters scorn Cinderella as they prepare for the second ball. Cinderella sobs bitterly and flees. Act III. Sc. 1: Salon of the Royal Palace: A ball promenade before the King and Queen. Sc. 2: Cinderella on the Prince's arm is embarrassed by the attention. The Prince reassures her, and they sing a duet. He tries to kiss her but she wards him off. Sc. 3: Garden of the Palace: The Prince meets Fenella, who dazzles him. He explains the lost slipper and his search. Fenella reassures him with a lengthy paean on love, advising him to be patient, brave, and constant. Sc. 4: Street in front of Ulrica's mansion. The herald reads the proclamation of "this tourney-day of Little Feet!" Sc. 5: A richly furnished drawing room. The slipper fits only Cinderella. Act IV. Sc. 1: Prince's Royal Apartment: The Prince walks to and fro singing. Cinderella is brought in in rags with a veil over her face. The Prince removes the veil and declares "'Tis she, 'tis she! O, sweet surprise!" (p. 20). They sing a duet, then strains of the wedding march are heard. Sc. 2: Royal Audience Hall. Ulrica and daughters come for forgiveness. Cinderella is kind, and all sing. Fenella appears in an awesome glow of light. The Fairies call out "Hail! Princess of Bimini!" and the clock strikes midnight as the curtain falls.]

Cinderella; or The Little Glass Slipper! The Correct Edition. Rossini's Comic Spectacular Fairy Opera in Three Acts. As performed at Tivoli Garden. San Francisco: Francis, Valentine & Co., 1881. Cast: Prince (Harry Gates); Baron (Mr. F. Boremann); Alidoro (Mr. H. Delorme); Dandini (Mr. M. Cornell); Pedro (Mr. J. Williams; Page (Miss Thompson); Cinderella (Hattie Moore); Clorinda (Miss E. Lefevre); Thisbe (Miss N. Harrington); Fairy Queen (Miss N. McCabe). Hunters, Fairies, Attendants, etc. [Synopsis: Act 1. Sc. 1. The Fairy Haunt: Fairies sing and dance "While sunbeams are glancing." FQ explains her guardianship of Cinderella and the arrival of the Prince with his hunters. She makes a fountain appear before the Prince, then presents Cinderella; as he approaches the girl, entranced by her beauty, FQ intervenes and tells him to seek her. The vision vanishes and he sleeps. Sc. 2: Alidoro, then Dandini approach the sleeping prince. Chorus sings "What wild sounds the hunters attending." Alidoro has had the same dream the Prince had and directs him to the Baron of Montifiesco to invite them to the tournay and Evening Feast. The Prince switches identities with Dandini to make the invitation. Sc. 3. A Gothic Room in the Baron's Castle: Trio, with Clorinda singing "No, no, no"; Thisbe, "Yes, yes, yes," and Cinderella "Once there chanced a king to be." FQ appears as a decrepid woman, is scorned the the sisters, but helped by Cinderella. FQ promises reward for her kindness. Pedro arrives with fixings for the ball. The sisters fight over them and knock him backwards onto the bandbox, crushing the feather head-dress. Alidoro arrives to comment on the confusion. The Baron enters, singing of his dream of the jackass and gold. The Prince arrives disguised and hears Cinderella sing "Once there chanced a king to be." They meet. He adores his innocence and simplicity. Dandini arrives as Prince and gives the invitation. Alidoro asks about the third daughter Angelina. The Baron insists she is dead and denies Cinderella's request to attend the feast. Act II. Sc.1. Chamber in the Palace: Dandini, disguised as Prince, tells the two sisters he cannot marry them both and offers his squire (the Prince) as an alternative. Both scornfully refuse, commenting on his ugliness. Dandini reveals the hoax to the Baron in a witty duet. Sc. 2: The Kitchen: Cinderella, despondent by the fire talks with Pedro, who tells her of his love for her. Writing appears on the dresser: "Thy woes will soon end." FQ appears. Pedro thinks she must be Mrs. Sally Mander, since she entered without a door. FQ transforms pumpkins, mice, lizards, Cinderella, and Pedro. Setting changes to exterior of Prince's Palace. The garden is filled with fairies. FQ gives the midnight warning as the car sets out. Act III. Sc. 1. A richly decorated ball-room: Cinderella appears, veiled, before the weary Prince. With unveiling a Duet: "Let thine eyes beam fondly on my own." Cinderella gives gifts to the sisters and Baron, who marvels at how fortunate father must be. She says her father disowns her, and the Baron calls him brute. Pedro worries about approaching midnight, but the Prince makes him dance with Clorinda while he dances the grand waltz with Cinderella. Midnight strikes, and she flees, losing the glass slipper. The Prince sings "What demons opposing malice." Sc. 2: View near the Palace: Pumpkin rolls across stage with Pedro in pursuit trying to stop it. Sc. 3: Kitchen in Baron's Palace: Pedro consoles Cinderella, who marvels at the glass slipper which she still possesses. The rest of the family returns. Sc. 4: An Apartment in the Baron's House: The proclamation arrives. All speculate on whose foot might fit. Pedro agrees that Clorinda may put her foot in it. They leave for the Palace, refusing Cinderella's request to come too. Pedro puts a pillion on the blind mare and he and Cinderella set out as they are. Sc. 5. A hall in the Prince's Palace: The sisters try on the slipper, Thisbe screaming in pain, etc. Pedro approaches. Alidoro and the Baron scorn him but the Prince honors his request: "Noble ambassador, conduct thy mistress before us." Cinderella enters with music as the Prince marvels, "those sounds--those rapturous sounds again." The Baron threatens Pedro while the Prince and Alidoro consult, then Cinderella takes the slipper from Alidoro and puts it on, supplies the other herself, and FQ appears and transforms her dress. Sc. 6. A Magnificent Scene in the Palace: FQ pronounces the task done: "Sweet Angelina, Cinderella now no more, thou hast been humble in adversity, be modest in thy greatness." Finale: "Now with grief no longer bending." Chorus: "Like the lightning, swiftly ending."]

Cinderella at School: A Musical Paraphrase in Two Acts, by Woolson Morse (1858-1897). Boston: Louis P. Goullaud, 1881. Opened March 5, 1881 at Daly's Theatre, Broadway and 13th Street. Scenery by James Roberts. Costumes by Lanouette, with suggestions from Kate Greenaway's Under the Window. Dances choreographed by Mdlle. Malvina and directed by Fred Williams. Musical Director E. R. Mollenhauer. Stage manager John Moore. Cast: Arthur Bicycle, a perambulating deity of the Upper Crust with distinguished foreign connections (Mr. Harry Lacy); Jack Polo of the Meadow Brook Hunt, stroke oar of the Columbia in the race of '80 (Mr. John Brand); Lord Lawntennys, a relic of other days and other lands, on a visit to his long lost nephew and on a search for his long lost niece (Mr. Charles Leclercq); Professor Kindergarten, principal of the Papyrus Seminary for Young Ladies at Laurelton (Mr. Paul Bown); Syntax, the Professor's head usher and chief hush'er, a melancholy man (Mr. James Lewis); Jenkinson, attendant on Lord Lawntennys (Mr. E.P.Wilks). Members of the Meadowbrook hunt, the Columbia crew, and Harvard. Niobe Marsh, a charity pupil at Kindergarten's seminary, the Cendrillon of the school (Miss May Fielding); Merope Mallow, a young lady from Brazil, the richest girl in her class and comparatively ignorant but superlatively smart (Miss Laura Joyce); Psyche Persimmons, the sleepiest girl in the Seminary (Miss Rehan); Miss Zenobia Tropics, head teacher at the Papyrus, a firm believer in bone padding (Mrs. G. H. Gilbert); Miss Globes, her assistant (Miss Perring); and the rest of the school, including Cloris Slatepennell who flaps, Circe Slatepennell who giggles, Lotis Slatepennell who sighs, Pansy Pickle who knows everything, Primrose Pickle who knows nothing, Sally Chalk who pouts; Carrie Mill and Marion Glassy, two very sweet girls; Dalay Dimpple a simple little thing, Virginia Creeper an insinuating thing; Rhoda Dendron, Minnie Nett, Ollie Ander, Amy Rylls, Ann Emony, Jessie Meen, Marie Gold--fragrant pupils; and Etty Mollogy, Ada Verb, and Prosa Dee--very learned girls. [Act I. A woodland scene where young ladies of Papyrus Seminary listen to "Cinderella," as told by Niobe Marsh, the charity pupil. Principal Kingergarten and Miss Zenobia Tropics enter as students are having an animated discussion on "What is love." The kind-hearted preceptor amuses himself by inventing a mythic story on love, after which the ladies resume their rambles. Syntax, the hypocritical usher, makes his appearance and proposes marriage to Niobe. She rejects him indignantly. Arthur Bicycle and his friend Jack Polo return from hunting and meet Lord Lawntennys, Arthur's uncle who is visiting from England. His lordship urges his nephew to marry Merope Mallow, the Brazilian heiress, but Bicycle refuses. Niobe and Merope rush across stage pursued by a raging bull. Niobe loses her shoe. Arthur picks it up, and Jack shoots the bull. Jack falls in love with Merope and Arthur with Niobe. The act ends with a school examination and an altercation between the pupils and Syntax, who gets the worst of it. Act II begins with the courtship and moonlight adventures of the two couples, who play hide and seek with the rest of the students and Syntax, who's determined to spy upon them. Niobe is expelled for alleged misconduct. Five weeks pass during which time Lord Lawntennys learns that Niobe is the daughter of his only son; he returns to the school to claim his grandchild. In the midst of his despair over her disappearance, she reappears with Arthur her new husband. She is now the Honorable Mrs. Arthur Bicycle. The comedy ends with universal rejoicing. Most of the plot is conveyed through musical numbers.]

An Entirely New and Original Pantomime, Cinderella and the Little Glass Slipper. Written expressly for the Pavilion Theatre by Frank W. Green. Opening Boxing-Day, December 26th, 1882. Produced by Morris Abraham. Director, John Alexander. Designer, Isaac Cohen. Cast: Prince Paragon (Miss Bessie Bonehill), Dandini (Miss Nellie Leamar), Chamberlain (Mr. Tacks), Baron Pumperino (Mr. Sam Holdsworth), Scratchface (Mr. George English), Spitfire (Mr. Johnny Alexander), Dozy (Mr. Arthur Alexander), King Cobweb (Mr. Charles Reeves), Fairy Kindheart (Miss Julia Kent), Cinderella (Miss Constance Alexander), Nobodies (Four Somebodies), Petronella (Miss Kate Leamar), King Cobweb (Mr. Charles Reeves), Dust (Mr. Godfrey), Blight (Mr. Gibbs), Brighteyes, Sunnyface, Flutters, and Flippertigibbet (The Midgets, performed by the children of the Matthews family), Musician (Bioletta Amadi). [Sc. 1: Home of the Demon King Cobweb. Cobweb and Dust express their hatred of Cinderella, who sweeps spiders and beetles from the house with her broom. They love the two sisters Scratchface and Spitfire, however, and will set them against Cinderella. Fairy Kindheart appears with the four midgets, praising Cinderella and providing a vision of her as they swear to guard her against King Cobweb and his buddies Blight and the Demons. Sc. 2: Winter Scene. Dozy bickers with the sisters; they have a snowball fight. Kindheart enters and changes the scene to Spring with a Spring Chorus. Dandini and his girlfriend Peronella and hunters enter singing "Drink, Puppy, Drink." They jest with the Baron. They sing "Boccaccio" with the Coopers Chorus. The Baron hopes for a meal, if somebody else would pay. Sc. 3: Woodland Dell. Cinderella enters gathering sticks and bemoaning her harsh life. The demons mock her but the Prince enters and falls in love with her instantly. She does not know he's the Prince but returns his affection with kind banter. They sing "Over the Seas." The Midgets enter and encourage the lovers by singing a quartette. Sc. 4: Fairy Scene. Kindheart, Brighteyes and Sunnyface praise Prince Paragon and Cinderella's loving nature and several talents, like baking, boiling, sewing, and stitching, love of nature and hatred of strife, "And what more can man wish for in a wife?" (p. 11). They sing "Kitty Green" and enter into the Grand Ballet. Sc. 5: Exterior of Baron's House. A chorus of Broker's Men threaten the Baron but leave because there isn't even a stick about the place. Scratchface and Spitfire wonder how they can make some money; Dozy suggests they go on the stage. They have a fight. The Baron returns, and they all sing "home sweet home." The Prince appears with some money for the family since he loves Cinderella "altho' humble be her birth." Dandini plays like he's the Prince so that the real Prince can give Cinderella his attention. Sc. 6: Kitchen in the Baron's House. Kindheart appears beside the overworked Cinderella and puts her to sleep while the Midgets and Busybodies clean everything up. The ugly sisters, Dozy, and the Broker's men have a go round; the Prince enters with invitations to the Ball. The preparation work falls to Cinderella. As the others leave, wornout Cinderella is left alone to sing "Faces in the Fire." Kindheart appears, calls for pumpkin, mice, rat and two lizards, with a "Hi! Presto! Change!" and magically changes the whole set to Sc. 7, where Cinderella sets off with carriage and horses. Sc. 8: On the Road to the Palace. Dandini and Peronella flirt, sing a duet, then meet the Baron whose carriage has broken down so that he walks to the Ball. Four gnomes express their love for Cinderella and would all marry her and help her to the Ball. Sc. 9: Exterior of the Palace. Cobweb and his demons plot mischief. Dozy and Scratchface drag themselves across stage, then the Baron and Spitfire who talk about manners and hopes of getting something to eat at the Ball. Sc. 10: Ball Room in the Prince's House. King Cobweb and the Demons plan to mess up the clock, the ugly sisters squabble, the Prince looks for Cinderella, finds her, and they speak more love talk. She'd prefer a man servant to a Prince, for they "will soon grow rich / And if they're clever, make a fortune faster" than their master. Grand Show Scene. The Prince welcomes the exotic dignitaries from Egypt, Khedive, etc. The clock strikes midnight catching Cinderella off guard and she flees, leaving behind her slipper. The Prince is sure he'll never smile again. Sc. 11: Dandini and Peronella bring around the slipper. Scratchface uses half a pound of powdered chalk but can only get her toe in; Spitfire tries yellar soap, but that doesn't work either. Cinderella appears and the shoe fits, but instantly King Cobweb abducts her. Sc. 13: Borders of Demonland. All search for her. Cobweb appears scorning them, but Kindheart enters with her fairies and sets her free. Cinderella pronounces the moral praising duty. In the finale a Grand Transformation occurs as the set for A Nightmare appears, designed and executed by R. M. Hyde; with Harlequin (Mr. J. F. Alexander), Columbine (Miss Annie Mortimer), Pantaloon (Mr. George Gibbs), Policeman (Mr J. Heller), Fop (Mr. G. Slade), Old Woman (Mr. Tacks), Clown (the Great Johnny Alexander), and the Wonderful Matthews Family and their Juvenile Troupe of Pantomimists.]

Cinderella. Drury Lane Theater, London. Opened December 26, 1882. Book by E. L. Blanchard. Music by Oscar Barrett. Produced and directed by Augustus Harris. Cast: Kate Vaughan (Cinderella); Minnie Mario (The Prince); Dot Mario (His Attendant); J. W. Hanson (Baron Filletoville); Harry Nicholls (Blondina); Herbert Cambpell (Brunetta); M. A. Victor (Baroness Filletoville); Kate Sullivan (Fairy Godmother); Master Abrahams (Tortoiseshell Tom); Fred Storey (General Sharpwitz); Reuben Inch (King Gallopade); George Lupino (Spirit of Mischief); Mlle. Emma Palladino, The Rosa Troupe (Dancers).

Book of the Words of Cinderella: The Drury Lane Pantomime, 1883-84. Opened December 26, 1883. Music by Oscar Barrett. Book by E. L. Blanchard, with original illustrative designs by Frederick Waddy. Printed London: Alfred Gibbons, [1883]. Produced and directed by August Harris. Scenery by W. Beverley, W. Telbin, W. Perkins, T. W. Greive, and Henry Emben. Properties by Labhart. Machinery by White. Armour by Kennedy and Phillips. Ballet by Madame Katti Lanner. Cast: Baron Fillettoville (Mr. Harry Parker); Hobbedyhoy, his Page (Mr. J. W. Hanson); General Sharpwitz, Commander-in-Chief (Mr. Fred Storey); Prince Pastorelle (Miss Minnie Mario); Poussette, his Attendant (Miss Dot Mario); King Gallopade, the Grand (Mr. Reuben Inch); Baroness Fillettoville (Miss M. A. Victor); Blondina and Brunetta, her Daughters (Mr. Henry Nicholls and Mr. Herbert Campbell); Tortoiseshell Tom (Master Abrahams); Cinderella, The Baron's Daughter (Miss Kate Vaughan); Scintilla, the Fairy Queen (Miss Kate Sullivan); Electra, Spirit of Light (Mlle. Aenea); Ignoramus, Spirit of Darkness (Mr. George Lupino); Clown (Mr. Harry Payne); Policeman XO (Will Harley), Fairies, Mashers, etc. etc. (Children of the National Training School of Dancing). [Sc. 1: Court of the Baron's Manor House. The wedding festival and honeymoon dance in full sway. The Baron has married the Baroness with pomp and ceremony, celebrated by the military and the villagers. Sc. 2: Interior of the old Manor House. The remains of the Wedding Breakfast. As the happy couple get acquainted the Baroness learns that the Baron is not wealthy and that he has a daughter, and he learns that she has been married before and has two daughters. They fight then kiss to the duet "Kissy, Kissy" and dance off. Cinderella enters with Battledore and Shuttlecock, fresh from school singing, "I'm my papa's darling, / Schooldays now are over," to learn that she has a new mother. Then Blondina and Brunetta enter with "I Beg Your Pardon!" and scorn her. She rushes to papa, who repulses her. The Baroness sends her to the kitchen to fetch firewood. Sc. 3: The Moonlight Glen for the Gathering of the Forest Fairies. Scintilla asks the fairies if they know a charming child. They all do--"We know Cinderella"--and plan the wedding of Cinderella to the Prince. Ignoramus, the Demon of Mischief, will try to thwart them. After a fairy ballet the hunters approach to a chorus of "John Peel." The Prince hears music, follows it, and meets Cinderella. They sing duets and fall in love--"'Tis love! Till now I never knew the name." Sc. 4: Interior of the "Junior Johnnie's Club," where Mashers gather to drink and sing. The King worries about the Prince. Will he ever marry. Poussette enumerates eligible princesses around the world. The King plans a ball. The Prince enters to learn that he is about to do his duty. The ball will take place. Sc. 5: The Baronial Kitchen. Cinderella, by the fire looks at herself in a polished fire shovel. She recognizes that she has a pretty face. B&B enter and abuse her verbally, when Hobbedyhoy arrives with the announcement of the ball. All are excited. After the sisters retire to prepare Cinderella, alone, sings "My Home!" The others reappear, sing "Cenerentola" air from Rossini, then depart for the ball. Alone, Cinderella contemplates the withered pansy on her bosom that the Prince had given her. FQ appears along with a host of tradesmen, who dress Cinderella. Electra brings glass slippers. Page Hobbedyhoy fetches the pumpkin, etc., and Presto! she is off to the ball. Sc. 6: Panorama of the Route, with duet by Blondina and Brunetta on "The Happy Land." The Baron and Baroness cross the stage in a cab, with "pantomime business." Sc. 7: The Prince's Fancy Ball. Dance of the Children, followed by the Grand procession. Sc. 8: The Conservatory, with illuminated clock indicating 11:45. Ignoramus plots to trick Cinderella and sets the clock back five minutes. Cinderella and the Prince are in bliss with love talk and songs. The sisters marvel on the princess's likeness to Cinderella. The clock strikes and Ignoramus is elated as Cinderella's dress and entourage change to rags and rats. The court searches for her but finds only the slipper. The chorus sings "I kissed her under the Parlour Stairs" as the search takes place. Sc. 9: On the Road Home. The Baron, etc., their conveyances having broken down, return on foot, decrying the brazen hussy who spoiled the ball. At home Cinderella sings "The Broken Pitcher," and wonders how angry the Fairy will be for having overstayed her stay and lost one of the slippers. The Prince and King enter with heralds to announce the slipper test. The baroness urges her girls to try. They struggle, but to no avail. The Prince sees Cinderella and gives her her turn. "Tut, tut! Who'd have Thought it." The Prince leads her to center stage with "Mine, mine for ever!" She pledges him her life, and the Chorus sings their happiness. Sc. 10: The Grand Transformation. Part One: The Black Castle, Home of Malice and Darkness. The Demons lament: Foiled after all. Part Two: The Home of Love and Light, to which the marriage party processes. Harlequinade followed by the "Cats Catdrille," "Rule Britannia," and "Sailor's Hornpipe" by the entire corps de ballet and the children of the National School of Dancing with Mlle. Rosa as the premiere Danseuse. The finale is followed by ads for F.S. Cleaver's Patent Terebine Soap, Rowland's Macassar Oil, and S. & H. Harris's ebonite, waterproof boot blacking.]

The Crystal Slipper; or, Prince Prettiwitz and Little Cinderella. Written Expressly for the Chicago Opera House Second Annual Spectactular Extravaganza, by Harry B. Smith and Alfred Thompson, Boston Theatre. Opened October 9, 1888. Star Theater, New York. Opened November 26, 1888. 32 performances. Dir. Richard Barker. Produced by David Henderson. Music by Frank David and others. Lyrics by William Jerome. Ballets by Signor Novissimo. Mise-en-scene, ballet costumes, and effects by Alfred Thompson. Scenery, William Voegtlin. Costumes, Dazien. Armor and Jewels by Leon Hirch. Properties by Bradwell and Edgerly. Mechanical Contrivances by Ricketts. Electrical Illuminations by Kruger. Cast: Cinderella (Marguerite Fish); Yosemite (Edwin Foy); Baron Anthracite (R. E. Graham); Prince Polydore von Prettiwitz (May A. Yohe [Boston] & Mamie Cerbi [N.Y.]; Mardi Gras, the Prince's Buffoon (Daisy Ramsden); Count Twobetter (Thomas Martin); Court Flunkies Tweedledum and Tweedledee (James E. Sullivan and Harry Kelly); Fairy Graciosa (Homie Weldon); Cinderella's elder sisters Angostura and Flordefuma (Charles Warren and Miss Topsy Vann); Captain Riffraff of the Guards (Maud Waldemere [Boston] & Ada Chamberlaine [N.Y.]); Tip-Top, Chief of the Pages (Ruth Stetson [Boston] & Babette Rodney [N.Y.]); "She" (Ida Haggard); Thomas Cat (Eddie Rategan [Boston] & George Ali, succeeded by Eddie Rategan [N.Y.]); Flic (Ada Chamberlaine [Boston] & Jessie Rogers [N.Y.]); Flock (Lulu Hesse); Tric (Rose Franck); Trac (Babette Rodney [Boston] & Olive Lynne [N.Y.]); Piff (Lillian Le Mont); Paff (Beatrice Mooney); Hostess of the Golden Pretzel (Mamie Cerbi [Boston] & Alice Morgan [N.Y.]); Lischen (Mabel Morris); Gretchen (Addie Inness); Rosa (Belle Bowles); Theresa (Elsie Staufer [Boston] & Minnie Murray [N.Y.]); Indian Queen (Minnie Murray [Boston] & Mary James [N.Y.]). With Townspeople, Courtiers, Guards, Showmen, Acrobats, Running Footmen, Coachmen, Ladies of Honor, Suitors, Fairies, Amazons, Demons. Dancers: Mlles Qualitz, Clara Neumann, Madeline Morando; Fanny Quick (Jack); Lena Mazone (Jill); Laurie Brooks (Little Boy Blue); Mlle. Morando (Little Bo Peep); Louis Ronaldo (Frog); Mlle. Qualitz (Duck). Musical Numbers: "A Fool is My Brother"; "We are a Daisy Family"; "A Cent for This and a Cent for That"; "Zing Boom"; "I Am a Prince"; "Maypole Dance"; "When the Wheels Go Round"; "The Baron's Song"; "You Shall Be Present at the Prince's Ball"; "The Irish Reel"; "Merrily We Trip the Dainty Measure"; "How to Receive an Invited Guest"; "Nothing Like Us"; "Whispered Love"; "Court Gavotte"; "I'm Not Old Enough to Know." [Prologue. Sc. 1: The Catacombs. "She," the Witch of Selfishness and her demon crabs. Subterranean revels. Song and Dance by "She." Appearance of Fairy Graciosa, Cinderella's Godmother. Act I. Sc. 1: Grand Square in the City of Pretzelstadt. Parade of the Pretzelstadt Musketeers. Arrival of Count Twobetter, who opens the fair. The jester's song, "A fool is my Brother" (Mardi Gras, the Prince's Buffoon). The Baron Von Anthracite, his two daughters, and valet Yosemite sing a quartette, "We are a daisy family." Cinderella, the drudge of the family, sings a duet with Yosemite, "A cent for this and a cent for that." Riffraff presents himself as an important admirer. Cinderella and the chorus sing "Zing Boom." The Prince arrives with his suite. He sings "I am a Prince" and falls in love immediately. Act I ends with a Maypole dance by eight Folly dancers. Act II. Sc.1: Baronial Kitchen in Anthracite Castle. Song, "When the wheel goes round," sung by Cinderella the kitchen slave, her faithful friend Yosemite, and the cat. The Baron sings "That's Different." Marquis of Queensbury rules govern a slight misunderstanding between Yosemite and the cat. The Baron and Yosemite indulge in an innings of baseball. Flordefuma and Angostura (the elder sisters) sing "Sassiety." Cinderella recalls the beautiful Prince. Marvellous appearance of the Fairy Godmother with a solo lullaby (new) and an invisible quartette singing "You shall be present at the Prince's ball." The Invitations arrive. The Baron and his two daughters are jubilant. Cinderella must remain at home. Medley of popular airs and Irish Reel (Messrs. Graham, Foy, Warren, and Martin, and Misses Vean, Ramsden, and Stetson). Sc. 2: Elizabethan Gardens of the Castle. Secret meeting of the Prince and Cinderella, with songs. The Fairy Godmother appears to fulfil her promise, changing the pumpkin, lizards, rats, and mice to state coach, valets, and running footmen. Sc. 3: A Glimpse of Fairyland with a divertissement of Mother Goose Nursery rhymes: 1. Four and Twenty Blackbirds. 2. Buttercups and Daisies. 3 Jack and Jill (Miss Fanny Quick and Miss Lena Mauzone). 4. Little Boy Blue (Miss Laurie Brooks). 5. Little Bo Peep and Her Sheep (Mlle Morondo). 6. Little Miss Muffett (Miss Alice Stoddard), 7. Pas seul (Mlle Neumann). 8. A Frog He Would A Wooing Go (Duck, Mlle Clara Qualitz; Frog, Mr. Louis Ronaldo). 9. Tarantella by eight coryphees. 10. Finale. A New Galop by Fraulein Qualitz, Mlles. Neumann and Morondo, and the entire Corps de Ballet (arranged by Sig. Novissimo. Act III. Sc. 1: Peristyle of the Palace of Polydore of Prettiwitz. Solo and Chorus "Merrily we trip the dainty measure," by Mardi Gras, Tip Top, Riffraff, and Pages, as they make ready for the ball. The flunky's rehearsal "How to receive an Invited Guest." Tweedledee and Tweedledum sing "Nothing like us." Announcement and arrival of The Dutchess of Cantelope, the fairy coach and ponies. Sc. 2: The Prince's Ball in the Court Conservatories in Polydore's Palace. A thousand wonders, "Whispered Love," "Court Gavotte" (S. Abecasis), the wondrous fan and the prismatic marble fountains. Grand Banquet Ballet, preceded by a procession embodying a sumptuous Service of Royal Plate in Gold and Silver; triumphal entry of Knives, Forks, and Spoons; gorgeous devices in Cups, Flagons, and Epergnes; Princely Plates and Dainty Dishes; Menu printed on Satin; a Delicious Dessert. Menu: Oysters on the Half Shell; Ice Cream, Cherry and Pistache, Lemon, and Chocolate (Mad'lles Manzoni, Quick, Brooks, Avanzini, Nelsone, Griffiths, Gautier, Gheringhelli); Champagne Sec (Mad'lles Josephine Leon, Ida Macarri, Alice Woodbury, Emilie, Reamer, Summerfield, Montain, and Grace Woodbury. Dolls' Quadrille (by eight principal dancers. Chartreuse, Mlle. Clara Qualitz, Premiere Dansuese. Cafe Noir, Mlle. Madelaine Morando). 12 O'Clock: FLIGHT OF CINDERELLA. Act IV. Sc 1: The Throne Room in the Palace. Solo and Chorus, the Prince and Courtiers. Baron and Yosemite scheme to remain in the kingdom. Duets, "Because my Mother told me so" and "I went with Him." The Dudes and the Slippers. Great Shoe-as-you-Please International Foot Show. The Competitors for the Crystal Slipper. Cinderella distances them all and wins the Prince. The Fairy Graciosa's Gracious Presence. *TRANSCENDANTAL TRANSFORMATION* 1. The Halls of Time. II. The Fairy Wishbone. III. The Wedding Presents. IV. Cinderella's Clock. V. Realms of the Revolving Hours. FINALE. See also Touring Company season 1889-90, below.]

Mr. Charles Bernard's Grand Christmas Pantomime, entitled Cinderella; Or, Harlequin, the Wicked Demon, the Good Fairy, and The Little Glass Slipper! Being a new version of the oft-told tale written expressly for this Theatre [The Prince's Theatre, Manchester], by J. Wilton Jones (1853-1897). Manchester: Guardian Letterpress and Lithographic Works, 1890. Produced December 18, 1890, in Manchester. Set design by W. F. Robson. Costumes by Mrs. Smyth and Mrs. Shuter under the superintendance of Mrs. Bernard. Music by Alfred Haines. Choreography by Miss Lillie Davis. Harlequinade invented by Messrs. H. Collier and R. Tabra. Props by Messrs. W. Garrett, J. W. Greenwood, and Jackson. Novel Gas and Lime Light Effects by Johnson & Burley. Cast [Mortals]: Baron Pompolino, a Baron of high degree and low estate (Mr. J. H. Rogers); Prince Plenteous, in search of a better half to share the whole of his fortune (Miss Alice A. Cook); Dandini, his valet (Miss Alexina Anderson); Pedro, page to the Baron, a page of romance (Mr. James Cumberland); Thisbe, the Baron's eldest "aesthetic" daughter (Mr. Robert Brough); Clorinda, the Baron's second "advanced" daughter (Mr. C. S. Lester); Alidoro, the Prince's tutor (Mr. Harry Collier), Grand Chamberlain (Mr. H. Parratt); Fanfarade, the Royal Herald (Mr. F. Johnson); Snip, Snap, Snorum, three Royal Flunkeys (Messrs. Richard Tabra, Thomas Tabra, R. Leggett); Gold Stick (Mr. J. W. Clayton); Silver Stick (Mr. C. Smith); Sugar Stick (Mr. H. Walton); Cinderella, our pretty and patient heroine (Miss Annie Poole. [Immortals]: The Demon Chimera, a very shady customer (Mr. George Balfour); Dryada, the Good Fairy of the Woods (Miss May Whitfield); Alecto and Brimstonio, bad fairies (Misses Nita Gerald & Kate Kennedy); Gossamer and Titania, good fairies (Misses Dina North and Lila Clay); Premiere Danseuse (Madamoiselle Idalie); and Furies, Fairies, Huntsmen, Pages, Masqueraders, etc. [Sc. 1: The Enchanted Grotto of Chimaera and abode of the furies: With an opening Chorus from "Le Grand Casimir," the furies, Chimaera, Alecto and Brimstonio celebrate the sedition, treason, and murders in Ireland that they have stirred up and plan how they can thwart Dryada by destroying her favorite, the beautiful, good, shy, and trusting Cinderella. The scene concludes with a vigorous rendition of "The Three Sailor Boys," with words refitted to a jolly demon crew. Dryada appears acknowledging her willingness to test Cinderella's worth "in ev'ry sense," confident that "health, wealth, and happiness" will be her reward. Sc. 2: The Valley of the Poisonous Fungi: Snip, Snap, and Snorum blunder about, terrified by a chorus of Will-o-th'-Wisps, informing all that the Prince is hunting near by. Sc. 3: Dryada's Home in the Fairy Dell: After a grand fairy ballet the Queen announces to her Parliament that Cinderella will become the Prince's bride ere tomorrow night. The Prince appears, having travelled "Cook's tour" the world over, examining the brittle girls of China and the smelly and nautchy but not nice girls of India, to return with no bride but a "doom" that there's no place like "Hulme." He sees a vision of Cinderella and dances with her (i.e. Lady Mime), hoping to sleep, perchance to dream. Dandini, Alidoro, and the huntsmen appear, Dandini preening on how the girls prefer him to the Prince and threatening Alidoro to play matchmaker or lose his pay. The Prince decides to change stations with Dandini so that he might find a girl who "loves me for myself." The hunters depart singing. Sc. 4: Ante-Room in the Baron's Castle: The Baron laments his poverty and the hardship of being a father, though he praises Clorinda, his "sweet aesthetic and Burnes-Jonesy child," who finds all eating low, and Thisbe, who is fond of Swinburne, lilies, and "kisses lank and lean." Pedro mocks them as "cartoons by Ford Madox-Brown." Pedro wishes the Prince would marry both of them, but Clorinda declares he's not a Mormon. The Prince and Dandini arrive with the invitations to the ball. Sc. 5: The Baron's Kitchen: Cinderella, alone by the fire, sings a song akin to her opening song in Rossini's opera. Pedro picks up a second verse mentioning the Prince's courtship, then they sing a duet. The Prince appears singing about his "fallen" condition. Cinderella sees in him the face she has dreamed of by the fire, and he falls for her too. The two elder sisters enter, mooning about the Prince (Dandini), and declaring themselves "artful" things. Cinderella gives them wildflowers she has gathered, but they cast them down, including the shamrock. Dryada appears and comforts Cinderella in a concerted piece with Pedro, then prepares her for the ball. Sc. 6: Approach to the Palace: Alidoro wonders whom the Prince might marry, singing a song "I'll make a note of that." The Baron and the two daughters appear. Alidoro compares them to Sarah Bernhardt on a spree. Dandini reveals that he is the valet. The Baron trio laments, but the girls would gladly settle for the valet. Sc. 7: Illuminated Gardens of the Prince's Palace: The Prince courts Cinderella and sings "The Gallants of England." Sc. 8: The Baron's Kitchen: Cinderella by the fire tells Pedro of her vision and the fact that she's lost her shoe. The trio appear, gossiping about the beauty at the ball. The royal entourage comes by looking for the owner of the lost slipper. Chorus of "We're all on the job." Thisbe's is not a foot but eighteen inches. Pedro and Cinderella appear; the shoe fits her. Clorinda almost faints, but Pedro wants no fits from her. Sc. 9: Finale: Air sung by all of "Jack." Sc. 10: Transformation, entitled "The Coronation of Cupid," designed and painted by W. F. Robson. An interval of five minutes. Then the Harlequinade.]

Crystal Slipper; or, Prince Prettiwitz and Little Cinderella, dir. Richard Barker. Originally written by Harry B. Smith. Designed by Alfred Thompson. The American Extravaganza Company. The Boston Theatre. January 12, 1891. Cast: Baron De Boulevard (Henry Norman); Yosemite, the Baron's Valet (Edwin Foy); Tallstoy, the Prince's Salaried Poet (Joseph Frankau); Prince Polydore Von Prettiwitz (Louise Montague); Mardi Gras, the Court Jester (Annie Dacre); Cinderella (Ida Mulle); Fairy Graciosa (Babette Rodney); The Baron's Daughters Angostura and Flordifuma (Fanny Daboll and Topsy Venn); Captain Riff-Raff (Miss F. M. Raymond); Tip Top (Lizzie Winner); Tweedledum (Joseph M. Doner); Tweedledee (Mr. E. H. Carroll); Agatha, Hostess of the Inn (Jeanette Perie); Cat (Master Pohley); Court Pages Flick, Flock, Trick, Track, Snick, Snack (Kittie Allen, May Wheeler, Edith Shaw, Rose Franck, Miss H. Barrett, Miss W. Irving); Lischen (Emily Cassidy); Rosa (Emily Seymour); Theresa (Susie Winner); Master of Ceremonies (Rose Franck). Townspeople, Courtiers, Guards, Showmen, Acrobats, Running Footmen, Coachmen, Ladies of Honor, Suitors, Fairies, Amazons, Demons, etc. [Synopsis of Scenery and Incidents. Act I. Sc. 1: (Voegtlin) Grand Square in the City of Pretzelstadt. Grand Folly Ballet. Act II. Sc.1: (Dangerfield) Baronial Kitchen in the Baron's Castle. Sc. 2: (Dangerfield) The Glade of Golden Ferns. Ballet of Fairy Stories and Nursery Rhymes: 1. Four and Twenty Blackbirds. 2. Jack and Jill. 3. Jack Horners; Mary, Mary. 4. Little Boy Blue; Little Miss Muffets. 5 The Little Bo-Peep. 6. The Frog he would a wooing go. 7. The Lily-White Duck. 8. Grand Finale. Act III. Sc. 1: (Voegtlin) Portal of the Prince's Palace. Sc. 2: (Voegtlin) Ball Room at the Palace. Grand Ballet entitled "La Carte D'Amour," composed by Signor Fillberto Marchetti, late of the Eden Theatre, Paris, and the Imperial Opera House, Cairo, Egypt, Ballet Master. Music specially composed by Mr. W. H. Batchelor: 1. La Pompadour. 2. Dance Characteristique--"La Bayadore" Signora Moranda. 3. L'Amour. 4. Azella--"The Flying Dancer," assisted by Mons. Eugene. 5. Dance Characteristique--"The Old and Young" Frl. Clara Qualitz and Mlle. Clara Neuman. 6. Grand Galop Finale, Signora Moranda and entire Corps de Ballet. Act IV. Sc. 1: (Dangerfield) Moonlit Garden. Comic Duet. Sc. 2: (Voegtlin) Ball Room of the Royal Palace. Grand Transformation (by Dangerfield). The Fleeting Seasons: 1. Winter. 2. Spring. 3. Summer. 4. Autumn. 5. The Golden Age. Finale.]

Mr. Oscar Barrett's Fairy Pantomime Cinderella. Written by Horace Lennard. Music by Oscar Barrett. Royal Lyceum Theatre, 1893. Scenery mainly by Henry Emden. Additional music by Musical Director James Weaver. Cast (Mortals): Cinderella (Ellaline Terriss); Thisbe and Clorinda, her half-sisters (Victor Stevens and Fred Emney); Baron Pumpolino, her father (Harry Parker); Baroness, her Stepmother (Clara Jecks); Pedro, the Baron's Servant (Charles Wallace); Prince Felix (Kate Chard); Dandini, his Valet (Alice Brookes; Fernando, his Equerry (Florrie Harmon); Alidoro, his Tutor (Richard Blunt); Lord Etiquette, the Grand Chamberlain (Deane Brand); Minister of Finance (Willie Temple); Minister of War (William Lugg); Minister of Marine (T. Terriss); Minister of Agriculture (Guy Waller). Villagers: Roland (Miss Fradelle), Pete (Miss Lascelles), Olive (Miss Nelly Barnett), Geoffrey (Miss Carrie Forrest), Nance (Bertha Stanton), Dorothy (Florence Leclercq), Margorie (Nellie Gann), Barbara (Ennis Keith), and the Black Cat (Charles Lauri). Immortals: Fairy Godmother (Susie Vaughan); Sylph Coquette (Minnie Terry); Fairy of the Slipper (Violet Darrell); Chief Fairy Potter (Emily Earle); Chief Fairy Weaver (Dora Barton); Chief Fairy Electrician (Dorothy Harwood); Chief Fairy Brassfounder (Cassie Bruch); Beauty (Grace Leslie); Virtue (Dora Rignold); Patience (Mary Barton); Industry (Hilda Thorpe). Principal Dancers: The Wood Pigeon (Miss Louie Loveday); The Fox (Mdlle Zanfretta). [Synopsis: Part I. Sc. 1: The Factories of Fairyland: Elfin workmen and fairy artificers work making all the articles required for Christmas. The Fairy Godmother appears seated on the moon and the craftsmen tell of their work--the Electricians have made a lamp for Aladdin; a Smith, bells for Bow Church chimes; a Weaver, a cloak for Red Riding Hood; a Potter, a jar for the Forty Thieves; the Glass-blowers, crystal slippers for Cinderella. The Fairy Godmother says Cinderella is the one she loves and decides to bless her with four gifts: Beauty, Virtue, Patience, and Industry. Sc. 2: Autumn in the King's Wood: Hunting choruses as the Fairy Godmother enters disguised as an old woman. The hunters scorn her but Cinderella gathers sticks for her and is kind. FG promises Cinderella a husband "wealthy, handsome, wise, and witty." FG and Cinderella sing a duet after which Cinderella sleeps. FG throws off her disguise and presents a Grand Autumn Ballet, with Mother Wood-Pigeon, Young Wood-Pigeons, a Fox, and many leaves. (The text provides ink drawings of the costumes for all the various roles.) After a hunting chorus the Prince appears as the valet and sings a love duet with Cinderella--"Life of my Heart." Sc. 3: At Baron Pumpolino's: Thisbe and Clorinda are Girton College girls who can jabber Greek and Latin, read French, play golf, and indulge in manly exercises. Thisbe has an affectation for intellectuality--Ibsen, Spooks, and the new humor. Fernando announces the ball and flirts with the Baroness. Dandini enters and is mistaken for the Prince. They sing a double quartet and dance. Sc. 4: The Kitchen at the Baron's: Cinderella sings "For Love's Sake Only"; Pedro brings in boxes of new clothing and the abused Cinderella is compelled to dress the others, not-with-standing her father's attempts to protect her from the malignity of her stepsisters. After they leave FG appears and changes the cat into a page, a pumpkin into a coach, etc. A magical change of scene to Sc. 5: The Fairy Boudoir, where fairies enter as Perruquiers (hairdressers), Looking-glasses, Pincushions, Gloves, Handkerchiefs, Jewellers, Florists, Perfumers, Powder Puffs, Fan-makers who fix Cinderella up, and, with Sylph Coquette, all enter into a Dance of Children, at the end of which the Fairy of the Slipper enters. Cinderella gets into the carriage and is warned about returning before midnight. Part II. Sc. 6: Near the Gates of the Palace: Chorus of Halberdiers, with entrances by the Grand Chamberlain and Alidoro, followed by Ministers of War, Marine, Finance, and Agriculture. The Grand Chamberlain sings "Our Brave, Brave Volunteers." All exit and Dandini appears to complain of the Prince's love-sick condition. Sc. 7: The Royal Palace, with illuminated gardens and numerous dances: a polka chorus, grand bal champétre illustrating the chronology of dance, guests in Roman Dress dancing to "Helen of Troy" in classic measure, followed by a pastoral dance, a pavane in Florentine dress suitable to the Romance of Romeo and Juliet, an Andalusian dance, a Nautch dance, a Tudor dance from "Henry VIII," a Gavotte, a Japanese dance, and the Grand Ballet, followed by a Grand Vocal Waltz. Thisbe and Clorinda discover that Dandini is not the Prince. Cinderella appears, and she and the Prince sing a duet and then a concerted number about ice cream. FG also appears, to the amazement of the guests, and blesses Cinderella's love. The Prince tries to send FG away, but she warns against laughing at love or boasting "thou'rt free," and the Prince acknowledges the mystery. Midnight strikes and Cinderella runs off, losing one of her slippers. Sc. 8: After the Ball: Cinderella flees homeward, accompanied by the cat. Others leave, disappointed at the sudden breaking up of the party and singing "After the Ball is Over." Sc. 9: Back in the Kitchen, or the Back Kitchen Again: Pedro consoles Cinderella; the others return, trumpets announce the arrival of Dandini, who tells of the slipper contest. Thisbe tries to bribe him. Sc. 10: Terrace outside the Palace: The Prince has had no luck finding his bride, but he dreams of her. The stepsisters try hard to make the slipper fit, then Cinderella appears, is opposed, then gets her chance. FG and Coquette appear and with a wave of the wand FG clothes Cinderella again in beautiful clothes. The Finale celebrates love and the wedding. Then, the Grand Transformation Scene entitled "From Storm to Sunshine," created by Henry Emden and pictorially illustrating Beethoven's Pastoral Symphony in nine pastoral scenes, followed by The Harlequinade, by Charles Lauri and Troupe, entitled "The Progress of Locomotion," in two scenes: 1. The Old Tabard Inn (1793) and "The Old Stage Coach"; and 2. The Admiralty Pier, Dover (1893) and "The Continental Mail." With Mr. Charles Lauri (Clown) Mr. E. Zanfretta (Pantaloon), Mr. H. Evens (Boots), Mr. H. Kitchen (Harlequin), Mr. F. Kitchen (Policeman), Mr. G. Aubrey (Ticket Inspector), Miss Minnie Tight (Columbine).]

Pantomime of Cinderella, by Fred Locke (d. 1907). Greenwich: W. T. Manning, 1893. Morton's Tenth Christmas Annual 1893-94. Morton Theatre, Greenwich. Performed every evening and matinees Monday, Wednesday, and Saturday. 3pence. Managed and produced by George Morton. Scenery and mechanical changes designed and painted by Tom Bogue. Original music by D. C. McKenzie. Lyrics and vocals by W. F. Brooke. Ingenious and elaborate mechanical effects by T. Willis and assistants. Ballet by Mlle. Estelle. Popular songs of the day by several composers. Limelight effects by William Church. Costumes by Tom Bogue and Miss Jesson. Harlequinade invented and arranged by Gus Lowe. This publication is replete with several dozen advertisements. [Sc. 1: Fairy land. Flora, Venus, Diana, Vesta, and Apollo broadcast peace and good will.

Diana: Trade's not so good as we could wish at present,
The outlook for the folks is far from pleasant.
I don't believe in Workmen's strikes, I say,
From Britain's shores they drive the trade away.
Flora: They lead to rioting and such like strife,
And as we've lately seen to loss of life.
Diana: I long to see the day when every nation
Will settle trade disputes by arbitration.

Cinderella, or The Magic Slipper. A Fairy Play in Five Acts, with Seven Tableaus. Written especially for The Children's Play by the Martin Studios. Willimantic, Conn., 1916. Cast: The Prince; The Count of York; Baron Slipperill; The Baroness; Alice and Sylvia, Cinderella's stepsisters; Ella, later named Cinderella, the Baron's daughter. Heralds, Courtiers, and Guards. The Fairy Godmother; Robert; Salambo the Fireking. Torchcarriers and Fairy Children. Act I: The Guild Hall of the Baron's Castle: Ella tends the house. A beggar named Robert appears, and she cares for him. Her father enters and announces his marriage. The stepfamily is introduced. They scorn Ella, and she returns their contempt. The Count appears announcing the ball. Cinderella is given the task of picking up grain. Robert says he can help and sends her to the Fairy Queen. He calls the spirits of the Ground to search out every grain to help poor Cinderella. Act II: Fairy Godmother's Cave: Robert worries since FG is not there. Salambo comes and they see through the first tableau that is FG being attacked by a bear. A knight appears and rescues her. Robert is relieved. FG and the Prince who rescued her appear. FG promises him a reward. She shows him Cinderella in the second Tableau--lonely, forsaken, but beautiful. The Prince's young blood rises impulsively. He sets out. Robert appears having rubbed the backs of FG's kittens to create electricity. Cinderella enters and in a flash FG transforms her dress and disposition. Salambo supplies the slippers, both talismans. They will protect her against evil spirits. Act III: Ballroom at the Palace: Prince keeps thinking of Cinderella as he meets others. She enters and he calls out "'Tis she! 'Tis she! By all the good spirits, it is she. Beautiful unknown, welcome to my palace." They have a good time while Robert diverts Sylvia and Alice. At midnight Robert whisks Cinderella to safety, leaving the Prince fastened to the floor. Act IV: The Cliffs: Cinderella wishes she were home. Robert will fetch a carriage. Salambo appears to abduct her as his Queen. Having lost one of the slippers, she has no power against him. The Baron and family return home; a Herald enters and announces the slipper contest. The Baroness plans to mutilate her daughters to make the slipper fit. Robert discovers that Cinderella has been stolen. A tableau reveals Salambo's Kingdom. The Fire Spirits hail their new Queen. Robert and the Count arrive to save her, but Salambo would throw them into the hottest furnace. But FG thwarts him. Salambo ends up in his own furnace. Act V: The Palace: The Prince awaits Cinderella as the Count recounts her rescue. The stepsisters attempt to make the slipper fit. With a shout Cinderella arrives. All is forgiven and FG pronounces the victory of innocence, now bestowed with Joy and Happiness. Fragrant flowers will strew her path of life.]

Cinderella: A Play for Children in Three Acts. By Eugenia Sheppard Black. The Junior League Plays. New York: Samuel French, 1928. Cast: Cinderella, slender, dainty with golden curls; Fairy Godmother, old lady in bonnet and shawl; Pink, Violet, and Buttercup, dainty fairies who flit about the stage; Countess Crosspatch, Cinderella's temperamental, overdramatic and jealous stepmother; Scold, her fat, whining, saccharine daughter; Sneer, the other daughter who dominates Scold and is a skinny pessimist with a deep, sharp voice; Fussbudget, the effeminate moustached prime minister; Prince Charming, decidedly a man romantically in love with Cinderella and bored by all else. [Synopsis: Act I: Living Room of Countess Crosspatch's Castle. FG watches Cinderella sleep. Pink, Violet, and Buttercup decorate the room with warm colors and admire Cinderella. She awakens from pleasant dreams and is reassured. The Fairies hide as Crosspatch, Sneer, and Scold enter, mocking Cinderella. Fussbudget approaches with trumpets and announces the ball. Cinderella gets them ready and they leave. The Fairies reappear, transform a pumpklin and rats into the entourage, and FG gives Cinderella magic silver slippers that can clothe her with a wish when she arrives at the ball. Act II: The Ballroom. The Prince is bored, and Fussbudget tries to console him. Cinderella arrives and Fussbudget admires her dress while the Prince admires her. Alone at last they dance, but at midnight she flees, dropping the slipper. "What a pretty little foot she has." Act III: Crosspatch's Home. After the girls discuss the ball, Fussbudget arrives. The daughters try to fit the slipper but fail. Even the Countess (who's only thirty-one) tries. Then Cinderella rushes forward. The family tries to block her, but Fussbudget likes what he sees. The slipper fits, and the Prince enters to claim Cinderella. When FG appears to give her back her beautiful gown the Prince replies, "I love her best in her little ragged dress." The stepfamily is forgiven and promised advancement, the door opens disclosing the golden coach (FG's wedding gift), and the Prince takes Princess Charming off to happiness forever.]

Cinderella: A Pantomime in a Prologue and Three Acts. By K. O. Samuel. London and New York: Samuel French, 1930. [A revised version of this play was published by French in 1950. See below.] Cast: The Fairy Queen, The Prince, Cinderella, Baron Bombard, Billy (a boy in buttons), Lydia and Isabelle (the Ugly Sisters), Spi and Cop (two detectives), Fairy Godmother, Captain Chump, Carissima (a Lady-in-Waiting), and a Herald. Fairies, Villagers, Guests, Policemen, etc. [Synopsis: Prologue: A Sylvan Glade. The fairies discuss what their play will be; one wants Bluebeard, another Aladdin, a third Peter Pan; an insistant fourth wants Hamlet, and a fifth suggests Cinderella, to which all but the fourth agree. So it will be Cinderella by a vote of 2177 to ll for Hamlet. A dejected Prince enters the glade, moping for a wife and happiness. The Queen reassures him and gives him a glimpse of Cinderella. The Prince proposes, but she replies that she is a member of the Middle Class. The Prince argues a precedent, however, since earls often marry chorus girls. The queen calls such thoughts shady, but Cinderella says don't discourage him: he's nice. The Prince promises to give a dance next week but the Fairy Queen warns him that he won't get her until the final curtain. Act I: The Baron's Kitchen. An opening chorus sets the situation: the Baron is broke and has detectives after him. Cinderella does all the work. A crash off stage produces the Baron with a large piece of a jig-saw puzzle that he has been making, except his new jig-saw's been upset. Cinderella wishes her pretty face would get her a wealthy marriage. Billy arrives with boxes of gowns for the ball. They don't weigh much which provokes the Baron to comment on the way women these days "ration" their clothes--"Their flimsy skirts get shorter still and shorter / Showing their legs the way they didn't oughter" (the play is in couplets!). The Baron has a toothache and finishes up the wine. Billy tries to get a kiss from Cinderella but gets a slap instead. The Ugly sisters come in to try on the gowns but are interrupted by the arrival of Cop and Spi, with a warrant. Policemen enter with a Chorus, then take the Baron away. The Uglies leave too, and the Detectives flirt with Cinderella then leave. FG enters through the chimney and prepares Cinderella for the ball. Act II: The Prince's Ballroom. The Prince talks with Chump about Cinderella's absence. They are stuck with Lydia and Isabelle. The Baron has made it after all and works on the wine. Spi and Cop help out, then take up with the Uglies. Cinderella arrives. She and the Prince discuss how people propose these days. They dance a pas de deux 'til midnight when Cnderella flees. All marvel over who she was and at the Prince's response. The men conclude she's a stunner but the women thinks its just the clothes she wore. Act III. FG consoles the Prince and sends him with the slipper to Baron Bombard, warning that they have locked Cinderella up for coming home late. You must rescue her immediately. The Baron, who's been hiding behind the curtain, can hardly believe it's Cinderella that the Prince loves. He tells Billy and fantasizes what it would be like to be out of debt. Cop and Spi propose to the Uglies and get the answer they've been waiting--"Yes!" The Herald arrives with the slipper. Isabelle remembers Hamlet's famous remark, "The shoe's the thing!" The Uglies try the slipper but retire limping. Then the Prince enters leading Cinderella by the hand. The slipper fits and Cinderella observes that dreams come true. And, "as Shakespeare said--he always put it right, / 'Our true intent is all for your delight'."]

Cinderella in Pantomime. In Three Acts, by Adele P. Hoon. Dayton, Ohio: Paine Publishing Company, 1931. Characters in order of appearance: Story-teller, Stepmother, Her Two Daughters, Cinderella, King's Herald, Fairy Godmother, King, Queen, Court Jester, Bugler, Prince, King's Guard (group), Princesses from Spain (any number), Princess Isabella, Gypsy Maiden, English Peasants (girls and boys), Court Ladies (any number), Noblemen (any number), Pages (any number), Maids (any number), Sailors of the King's Navy (any number). [In this pantomime the story-teller has all the words. Synopsis: Time: Long Ago. Place: Merry England. Time of Playing: One and a half to two hours. Act I. Living room of Cinderella's home where she is a little drudge for the Stepmother and two Stepsisters. The King's Herald appears with the wonderful news of the ball, then also Cinderella's Fairy Godmother with more wonderful news still--Cinderella will attend. Act II. Ball Room of the Palace. All is gayety. Cinderella appears, an unexpected guest, and proves the envy of all. She departs suddenly at midnight, losing her slipper, and the Prince declares his intention to marry the one it fits. Act III, sc. 1: Who can wear the golden slipper? Many exotic women try, but fail, despite fine dancing. Sc. 2: The King's Herald at last finds Cinderella and the slipper fits her perfectly. The Herald escorts her to the palace, and she marries the Prince. They await their throne, and Cinderella at last finds comoplete happiness.]

Cinderella: Basic Pantomime in Three Acts, by P. H. Adams and Conrad Carter. London: Samuel French, 1944. Cast: Baron Egbert Hangover, Baroness Hangover (formerly a fishwife selling winkles), her ugly daughters Hortense and Ermyntrude, Cinderella, Buttons (Lord Stoneleigh, in disguise), The Fairy Godmother, The Prince Charming, Footmen, Men-at-Arms, Guests at the Ball. Act I. Sc. 1: The Uglies come to breakfast, impressed with their rise in station, practicing their scorn of the lower classes and new table manners. Buttons brings news of the Ball. Buttons will help Cinderella with her work so that she can go too. Sc. 2: The Baron's Attic. We learn of Buttons' real identity and his love of Cinderella as he plays dice with Egbert. Sc. 3: The Kitchen. The Baroness overhears Buttons ridiculing her and kicks him in the pants. The Uglies dress and Cinderella gives them dancing lessons. They leave and the Fairy Godmother appears, makes the coach, horses, and footmen from pumpkins, rats and mice, dresses Cinderella, with glass slippers, and Buttons takes her to the Ball. Act II. Sc. 1: Ante-room of the Palace Ballroom. Buttons and the Prince talk; everyone arrives, dancing and cavorting. Sc. 2: Palace Gardens. Cinderella and the Prince talk, and the Baroness and her daughters try to remember where they have seen the princess before. They flirt with Lord Stoneleigh. Sc. 3: The Ante-room. Midnight and Cinders flees. Act III. Sc. 1: Road to the Baron's house. Buttons and Baron chat while the Baroness spies on them. Sc. 2: Baron's Kitchen. Cinders serves and learns about the Ball; the Baron practices his trumpet and is thought to be drunk; Buttons arrives with news of the slipper fitting. It fits Cinders, and the Prince is shocked at her grubbiness. The Fairy Godmother appears, takes her aside and returns her in ball gown etc. Now the Prince is happy. A big chorus finale.]

Cinderella: A Pantomime, by K. O. Samuel. London: Samuel French, 1950. Cast: Baron Bamboozle, Baroness Bamboozle, Spy and Cop the Brokers' Men, Prince Charming, Dandini, Bluebelle and Maybelle the Ugly Sisters, Cinderella, Buttons, a Watchman, the Sergeant, Fairy Godmother, the Guide, the Herald, a chorus of villagers, huntsmen, guests at the ball, etc., and a fairy ballet. [Sc. 1: The Village Green: The Baron hunts for his wife, she for Buttons, when the Prince enters hunting. He's thirsty and stops by the Bamboozle house where he gets a drink from Cinderella. He invites them all to the ball. Sc. 2: A Street in the Village: a comic interlude between Cop and his baby, Spy, and the Watchman before the curtain while the main set is being changed. Sc. 3: The Baron's Kitchen: a massive scene in which the stepsisters make demands on Cinderella in preparation for the ball, Buttons returns and, in his affection for Cinderella, wishes she would stay home; the fairy Godmother appears, prepares Cinderella, and sets her out to the palace. Sc. 4: Outside the castle: a military drill, a tour-guide, and commonfolk gather outside the castle. The Bamboozles arrive for the ball; the Prince disguised as Dandini observes the lot of them and gives coins to the singers. The Bamboozles enter the palace as the Prince does and the Baron tips him with one of the coins tossed to the singer. Sc. 5: The Ballroom: After some confusion over who is who, Cinderella arrives and dances with the Prince. At midnight she disappears leaving only her slipper. Sc. 6: Outside the castle: Spy and Cop see the beggar wench flee the castle and disappear into the Bamboozle residence. The forelorn Prince searches outside the castle and meets the Fairy Godmother who reads marriage in his palm. Cop and Spy keep their secret. Sc. 8: The Throne Room: aristocrats come to try on the slipper--Baroness Bamboozle and her ugly daughters included. The slipper fits none. Then Spy and Cop bring in Cinderella in her rag-dress. The Prince sees her, is enthralled, learns her name--Cinderella--and loves it. The slipper fits and Cinderella gives the epilogue, asking pardon for any faults: "As Shakespeare wrote--he always put it right, / 'Our true intent is all for your delight'."]

Cinderella, by Derek Salberg. Performed at the Alexandra Theatre, Birmingham. 1950-51. Dir. Derek Salberg. The 56 page souvenir programme includes the complete script. Cast: Fairy Queen (Betty Nelson), Dandini (Ruthene Leclerc), stepsister Buttercup (Terry Kendall), stepsister Daisy (Nick Nissen), Baron Hardup (Michael Moore), Cinderella (Betty Leslie-Smith), Prince Charming (Helene Cooney), Buttons (Norman Wisdom), broker's men Lancelot & Adrian (The Aberdonians), and Three Monarchs, Six Gotham Singers, Lehmiski Ladies, Alexandra Babes, and The Douglas George Lilliput Ponies. Synopsis of Scenes: Act i, Sc.One (Prologue) The Fairy Glade; Sc.Two: A Forest in Florazel; Sc.Three: The Library at Hardup Hall; Sc.Four: The Ugly Sisters' Boudoir; Sc.Five: The Library at Hardup Hall; Sc.Six: The Kitchen; Sc.Seven: Cinderella's Bouquet. Interval. Act II, Sc.Eight: On the Way to the Ball; Sc.Nine: The Colonnade; Sc.Ten: The Palace Ballroom; Sc.Eleven: The Baron's Backdoor; Sc.Twelve: The Village of Stoneybroke; Sc.Thirteen: A Land Near Hardup Hall; Sc.Fourteen: The Clock Strikes Twelve. [Baron Hardup is broke because he spent all his money on beer. The prince comes disguised as Dandini. Cinders is kind to an old lady in the wood, who turns into the fairy godmother. The transformation happens by means of a drumroll and a blackout.]

The Story of Cinderella: A Pantomime, by Ronald Parr. Music from the operas of Sir Arthur Sullivan. London: Samuel French, 1954. Cast: Prince Charming; Dandini, equerry to the Prince; Baron Hardup, an inventor; Buttons, a domestic in Hardup Hall; Rudolf, ex-King of Pandemonium; the Honorable Hilda Hardup, eldest daughter; Tilda Hardup, the second daughter; Cinderella, his youngest daughter; Miss Mabel Mabb, M.A.; Fairy Fay, Miss Mabel's assistant; 1st fairy, elves, and court guests. [Mabb's fairy shop has fallen on hard times and can't pay the rent to Baron Hardup, who himself has fallen far behind in his own estate payments. He is a fumbling inventor whose most likely invention, Fairyvision (FV), works only sporadically. Rudolph, the two-penny villain and crook, wants the fairy shop and Cinderella. He plans to foreclose on Hardup, thinking that Cinderella might agree to marry him to save her father. She refuses, but Rudolph, fearing recognition by the palace police, flees when Dandini comes by to announce the ball. Tilda Hardup, who has a speech defect, loves Rudolph (her Wudy), despite his villainy. The two sisters go to the ball with father in his Atommycar, which splits an atom every ten seconds for power, except that it doesn't work. The fairies dress Cindy who goes to the ball after all, wearing Mabb's slippers. Rudolph sets the clock back so that Cindy will be embarrassed by overstaying her time. She's turned back to rags as she flees, bumps into the Prince, and is scolded for being a raggamuffin. Buttons rescues her on a flying broomstick. Rudolph convinces her that she only dreamed of going to the ball and, in an act of "kindness," buys an old barn from her and Buttons for a goodly sum. But the title is written in disappearing ink and he substitutes "Magic Shop" for "Barn" and forecloses. Dandini comes by looking for the princess who fits the slipper. Cindy recognizes it as the one Mabb gave her but she can't find its mate because Rudolph stole it and hid it in the oven. There it gets mixed up into a cake that was cooking and is served to Dandini. He is amazed to find the other slipper and to see that both fit Cinderella. But they must find Mabb to transform her clothes. Mabb has just been dispossessed by Wudy. But in the nick of time he is exposed, Mabb sees an ink smudge and figures out the disappearing ink trick. Rudolph is incarcerated, but Tilda wants him. He'd prefer jail, but Dandini gives him to her anyway. The Prince and Cindy conjoin, and Cindy gives the moral based on Perrault exhorting youth to be good and wash behind their ears, do their sums and "Someday, somewhere, you'll certainly discover / A handsome, rich and well-connected lover. / Of course it helps, I hardly need remind you, /If you've a Fairy Godmother behind you!" Rudolph is glad that "the best lady won." Of the recent Cinderella pantomimes, Parr's is the most popular and has often been performed throughout England during the second half of the twentieth century. The song lyrics set to Gilbert and Sullivan have contributed immensely to this panto's success.]

The Other Cinderella, With Acknowledgements to all the Earlier Versions, by Nicholas Stuart Gray. Illustrated by Joan Jefferson Farjeon. London: Dennis Dobson, 1958. Cast: The Demon, The Fairy, Cinderella who is really Lady Ellen, Charles the Prince, Danny his equerry the Earl of Dannett, Melissa and Melanie the stepsisters, Dame Margaret the stepmother, James the Baron, Barny the squire. Act I sc.1: The Edge of a Forest, evening. A confused demon and fairy meet, as if called from another time. Both are frightened and console each other by trying to stay within traditional roles. Cinderella appears--a spoiled, haughty, self-pitying child who has lost her mother and is taking it out on herself by proclaiming that she is Cinderella, though acknowledging that she really is "horrible." The Prince and Danny come by and the fairy, confused by earlier versions of the story, wonders, to their surprise, which is which. Sc. 2: The Baronial Hall, later. Melissa and Melanie worry about Ellen's having gone out alone. They marvel at her abusiveness toward them and herself, but try to understand her bereavement. Lady Margaret is equally sympathetic. The Fairy and Demon visit as an old lady and a peddlar. They are welcomed by Margaret and her daughters, invited in to get warm, and thus are quite confused, since the stepfamily is supposed to be bad. Barny finds Cinderella and brings her back home, where she scolds everyone and heaps more abuse upon herself. The Prince and Danny stop by, but the Demon whisks them off to avoid their seeing what a wretch Ellen is. The Demon and Fairy wonder how they can help Ella. Act II, Sc. 1: In Another Forest, Midnight (a sinister place). The Prince and Danny, as if trapped in contiguous nightmares, try to hack their way out. They come upon the sleeping Fairy and tell her about the up-coming festival. The Demon appears, apparently summoned by the Prince who accidentally has hit upon a wand. A near miss from getting caught up in the