

Bad Cinderella (Lloyd Webber)
David Zippel
A delightful new spin on the classic tale set in Venice, this musical has lots of Italian spice and fire.
To find love and happiness, a self-reliant, strong and beautiful Cinderella must overcome a powerful amuletto d’amore to free her father from her stepmother’s mysterious spell.
The Godmama wields a magic spoon and the prince's Godpapa employs his magic sword.
The music is co-written by the legendary American composer of “What a Wonderful World” and “The Lion Sleeps Tonight.”
A great score, fascinating new characters and a joyful spirit of optimism, love and good humor make this an ideal musical for the whole family.
"This Cinderella will live happily ever after."
— Buffalo News
"A good-looking, award-winning rendering of the tale."
— The New York Times
| Character |
|---|
| CINDERELLA A smart, responsible, attractive and loving young woman who is devoted to her father and the memory of her mother. While she is treated as a menial by her new step-relations, she is anything but menial in her heart and attitude. She puts up with them because this is her home and has been for a long time. She has a deep moral center but comes to see how even doing what is right is often a difficult choice. She is not the docile, vacant character typically portrayed as Cinderella. |
| PAOLO Unlike in the original, the father has a more prominent role. He is a kindly, well-meaning soul who, after many years as a widower, has remarried, primarily because he doesn't want to be alone as he grows old. He loves his daughter deeply but in a largely ineffective way; he fails to protect her against the newcomers in their lives. While that failure is partly because of the spell his new wife has cast on him, he admirably come sto recognize and accept his responsibility for his daughter’s lot. |
| PULCHITRUDA The stepmother is best described as beauty cast in stone. She is scheming and pragmatic, and misuses the amuletta d’amore to keep Paolo in line. To that extent, she has powers beyond the ordinary. Cold and largely unfeeling, she looms as Cinderella's major antagonist. |
| MOLTOVOCE , is precisely what her name suggests: a loudmouth. The younger, |
| SEPPIA , is learning the ways of her sister and mother, having little of her own character. Squid-like, as her name suggests, she takes bit of this and that to make herself. |
| LA STELLA Anything but the traditional fairy godmother. She is both godmother and grandmother to Cinderella, but she plays both roles with an attitude. Sharp, bright, feisty and uncommon, she uses the traditional wooden spoon as her magic wand – which has an attitude of its own – to stir up help or trouble, depending on the circumstances. Of equal importance in the course of events, she also finds love for herself, adding an element to the story which is not present in the original. |
| IL COMPARI This new character is the Prince’s godfather, and he comes almost whole-body out of the commedia dell’arte: the braggart soldier. Lively, boastful, comic and warm, he fumbles at making the wondrous happen with his sword (with an assist from La Stella). He also owns a romantic heart and a charm that attracts La Stella, thus leading them both to love late in their lives. |
| PRINCE NICOLO He is the fairly typical prince of the story, but even he is a more complete character than usual. He is warm and charming, but most important, he sees beyond the surface of things and takes matters of the heart seriously. He seeks not merely a bride but a soulmate with whom to make a life. |
| RAFAEL A gondolier. |
| ANGELINA Cinderella as a child. |
| ENSEMBLE Citizens and children of Venice. |
A Tale of Cinderella is a play written by WA Frankonis and published by Concord Theatricals .
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Restrictions: Major Markets Only (US) / Standard Restriction (UK)
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