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In the days of ' Mother Goose' they made no claim to a literary status. The Baron mocks her in a "concerted piece" from in which Alidoro asks after the third daughter, Angelina. As in Rossini's opera the quintette sings of their uncertainty and doubt. But nowadays they are carefully written by literary men, and aspire to literary merit. Disher notes that this version of the folklore tale was “strangely perverted” considering Venus, instead of the fairy godmother, is responsible for Cinderella’s eventual triumph. He decorates her with a scarf and diamond ring as tokens of his love. Cinderella is in rags as the Prince's men pass by. The critique and its publication have been ascribed to Mr. He notes that the grandeur and magnificance of the grand tale has rarely been equalled, never excelled to the infinite credit of the ballet. 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. 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. 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! [See also Lacy's Acting Edition under Opera, below, which includes stage directions absent from this edition. 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. 3: A trio, suggesting a plot akin to Rossini's opening scene, with Clorinda and Thisbe complaining about dress, hair, joy, etc. The Prince laments some "Demon's opposing malice," as the chorus comments on his raging passion. Bigwiggo awakens him, after checking his large clock, but he would rather dream of her face. Cinderella appears and the Baron slaps her and so do the sisters. More work for Cinderella, though Pedro is sympathetic and helps. The Prince arrives with the slipper, though Clotilda and the Baron rage, the Prince discovers Cinderella in an instant. " 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.], by Charles Rice (1819-1880). Venus role in the Drury Lane production brought together ballet and melodrama, as it included a ballet of Loves and Graces on the island of Cytherea (303). Mountain), Nymph commissioned by Venus (Miss Tyrer), The Graces (Miss B. Midnight comes, but Love moves the clock's hands backward, as if to give them another hour. "It is perhaps one of the happiest tales that possibly could be selected to instruct and amuse the rising generation. / Here Cinderella this prize shall win / And in Wedlock's bonds be join'd with Harlequin."] The Music composed by Rossini containing choice selections from his operas of Cenerentola, Armida, Maometto 2do, and Guillaume Tell. Grieve and Finley: The Whole arranged and adapted to the English Stage by and Produced under the direction of M. Performed for the first time at the Theatre Royal Covent Garden, Tuesday, 13 April 1830. This version was frequently performed in America in the 1840s. Cawse); Hunters, attendants, pages, grandees, visitors, Tyrolese Dancers, Sylphs, and Fairies. Cinderella sings repeatedly her "Once a King there chanc'd to be" song, to the objection of the sisters. ) Tyrolese dances by Mesdames Vedy, Bedfore, and Mr. Presumably the plot is now following Perrault's glass slipper scenario, perhaps through mime? Cinderella sings her song again, now with words defying sorrow: "Now with grief no longer bending / Shall my heart neglected sigh! She is ordered to help them and they all call her to help them at once. The Baron plays fiddle so that the sisters can practice. After the Baron and sisters leave for the ball Cinderella stirs the fire. The Prince sings "Will a Monkey." Bigwiggo introduces representatives of various countries. 7: The Ball-Room in the Prince's Palace Looking out upon the Grounds. They dance, then sit to watch a Terpsichorean game at cards that ends with a remarkable shuffle. This jewel, as I see it, symbolizes the feminine genital" (pp. 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. We must go back to earlier periods, if we will compare things new with old, when the pantomime was a classical production. 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.
[Summary: Venus and her court relax to music on Mt. In an outburst of delight Venus greets Cupid who affirms that they have captured the Prince in a silver net. The Nymph appears and transforms her with the touch of a wand. A subdued trumpet call brings the butterflies together for the Grand Butterfly Ballet. Baron Blunderboar appears, lamenting his poverty and sings his "Song of Misery." The Prince offers tickets to the ball. The Baron announces the ball, hoping to solve the family woes by marrying off either Salprunella or Blousabella. So does Honeydew, who, after the others leave, transforms Cinderella into her ball apparel. The royals are aghast, but the Prince says he will keep his word. The curtain falls on a grand tableaux of Sleeping Beauty and Prince Fortune surrounded by Fairies.], by T. 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. An air welcomes Venus and the chorus sings "for ever and for ever" as a dance concludes the play. The pantomime was originally produced at Drury Lane, January, 1804. 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. The sisters taunt her, but Cinderella can scarcely conceal her joy. The script is available on Readex Fiche, without musical score.]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. 130), who makes up for the missing mother and the inept father and completes her mythic dream as the real Buttons could not do.], at Drury Lane Theatre in 1702. A wrinkled old woman leading a ragged boy enters begging. Instantly they are transformed into a beautiful female and lovely page. John Rich, inventor of the Harlequinade, was the first to describe a play as a pantomime. With a wave of the wand Cinderella is transformed too, and then Pedro as well. Cinderella appears, accompanied by Pedro and the page. The clock strikes twelve and Cinderella flees, losing one of the glass slippers.
In 1807, Covent Garden performed Rossini’s “Cenerentola” as “Cinderella, or the Fairy and the Little Glass Slipper.” When Drury Lane burned down, the company moved to the Lyceum and performed a Cinderella pantomime there as well. Pedro's watch shows midnight, however, and he's worried. Her dress changes, Pedro's dress flies off too, and he "commits many laughable blunders by jumping over the tables etc." (p. The Prince finds the slipper, kisses it, and places it against his bosom. Too much cannot be said, where the morals are kept in view, and virtue held forth in such fascinating colours. The Fairy Queen appears as a beggar asking for charity. 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 . The next item in the libretto is the chorus hailing Cinderella as Queen. / Like the lightning swiftly ending, / Sorrow's clouds for ever fly! First performed at the Royal Strand Theater on Wednesday, 26 December 1860. The poker, tongs and shovel come to life and dance to "The Song of the Tongs." Goody-Goody appears. Little elves dress Cinderella from top to toe and with glass slippers. Midnight arrives and Cinderella and Pedro appear in their old attire.