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Pedro tries to help her as she sings "Heigho, Heigho." The sisters join in to mock her. But they end their bickering when all agree that for Cinderella they all have places. She defines his boldness as "Vice." Barleycorn arrives with the Beadle to arrest Cinderella but the Prince knocks them down. " The crowd is amazed when the slipper fits her, however. Sc.1: Back at the ballroom the Prince and the King and Queen wait. Serena then blesses the audience to close the play.

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. At Drury Lane, Grimaldi performed “Cinderella”, however, a critic dubbed his song and performance as “base,” and Grimaldi left Drury Lane in the fall of 1805 (98). The Nymph warns Cinderella about midnight, she enters the carriage and goes to the palace. The Prince sees Cinderella in the dress of his dream and is enchanted. The sisters return and the announcement of the Prince's search is made. She forgives the sisters and introduces them to two noblemen. 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.]. The pantomime is in manuscript, a part of the Larpent collection, no. The manuscript is five pages long and includes 14 scenes of dialogue and choruses, in couplets. Recitative by Cinderella on her scullery work, her "doom." Sc. The Baron receives news of the ball and reads the invitation that admits the Baron, his lady, and her two daughters. 5 Finetta punishes Cinderella for spurning her command. The Baroness sides with the Fairy godmother's scolding of Cinderella. He takes a nap and Fairy Butterfly gives him a vision of Cinderella. 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. Produced at the Theatre Royal, Covent Garden 1875-76. George), Papillion, Queen Butterfly (Miss Emma Walters), Cinderella (Miss Amelia), Salprunella (Mr. 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). 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. He was a performer and founder of Covent Garden Theatre. The little page fondles Cinderella, a sign of love twining himself around her heart.

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But nowadays they are carefully written by literary men, and aspire to literary merit.

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