Casting

CINDERELLA- has the purest heart living in a cruel world

HER FAIRY GODMOTHER- an enchanting motherly figure

HER STEPMOTHER- the cold-hearted stepmother of Cinderella

GRACE - her awkward stepsister

JOY - her sullen stepsister

CHRISTOPHER - a charming young prince

LIONEL - his royal steward

QUEEN CONSTANTINA - his mother

KING MAXIMILLIAN - his father

VILLAGERS, MERCHANTS, MAIDENS AND PALACE GUESTS

Although the script does not delineate a specific time period or location, the publishers indicate sometime between the 15th - 17th Centuries, "long ago in a kingdom far away".  Therefore, most accents should not sound contemporary, but rather have an air of snobbery.  Many of the roles should sound sophisticated, regal, aristocratic, and of royalty, steeped in the old ways of tradition; which is evident in the script. The two characters that should sound most believable and honest are Cinderella and Christopher (while still in the world of a fairytale).  Actors should strive for a standard American dialect that leans toward an English (Received Pronunciation) accent.

NOTE: In this show, the race of the characters is not pivotal to the plot. We encourage diversity and inclusion in casting choices.

It is in our best interest to cast understudies for our production. Therefore, we will cast and or assign understudies for Cinderella. In Broadway productions and tours, in which understudies, swings, and standbys are utilized, this is called a Track System in which many, if not all, actors cover several "tracks"/characters. If one person is out, then the track gets filled and all the slots get adjusted with as little disruption as possible. We may never need to do this and we may not be at the luxury of having a complete track system (standbys) for our production. However, we will have an understudy system in place.