Cendrillon

Gives complete cast.

Opening postponed.

Opening postponed from 12/14/66 to 12/17/66.

Identified only as “the new rival of the ‘Crook.’”

“There is an old saying that three removes are as bad as one fire: another might be that three postponements are as bad as a failure. This holds in most instances, but Messrs. Smith & Baker had no reason to think so. The new spectacle which was promised at the New York Theatre for almost every evening since Wednesday last, finally made its appearance before one of the largest audiences that ever crammed a theatre in this city, last night. The new spectacle which was promised at the New York Theatre for almost every evening since Wednesday last, finally made its appearance before one of the largest audiences that ever crammed a theatre in this city, last night. The matter of the piece (as we stated some days ago,) is a Frenchman’s way of telling the old, old, fairy legend about the heroine of the Glass Slipper. Ever fresh and effulgent, that fiction of childhood is an abiding delight. Theatrically, it is an ‘institution’ which exhilarates and invigorates all who have recourse to it. Its beauty, like Cleopatra’s, is amaranthine, and cannot be better described than in those oft quoted words, whose unfading eloquence illustrates the sentiment they express: ‘Time cannot wither it nor custom stale its infinite variety.’ But if it ever could grow ‘stale,’ the manner in which it is now produced at the New York Theatre would rejuvenate it, for the old story is embalmed with more glitter and gold, and purple, and fine linen than ever it was before in this vicinity. Pretty women abound in it, dazzling lights shine over it, wonderful tricks give it the magical character of a realization of fairy land. The young women who appear in it do their best to come up to the ideal fairy—or perhaps we should say the ideal Eve. Considered spectacularly, Cendrillon is a very beautiful show-piece, the scenery is bright, and in many instances beautiful. Considered dramatically, the play is good, but is too talky and is not funny. The fun is left for the actors to create—and they do it. Considered histrionically, the piece stands the best chance with the public. Miss Saidee Cole, as the Prince, carried off the first honors among the ladies, however, both for her charming singing and the graceful expression she gave the part. Messrs. Mark Smith and Lewis Baker were superior to everybody else of their sex of course, and Miss Hinckley made a charming appearance. The piece was a success, and will have a run.”

"The fairy spectacle of ‘Cendrillon’ was produced at this house on Monday night to a house made up mainly of loafers. Last night it was repeated, and a few reprobates tried again to turn the thing to prurient ridicule. We state the facts broadly because, having seen the spectacle from beginning to end, we are able to say that there is not a scene in it which could not be witnessed by the most susceptible mind. On the contrary, the tableaux are picturesque without exciting painful emotions, and the dialogue is proper even unto dullness. The ballet is not the highest form of art, but it is a form of art. Its purpose is to display the plastic graces of the human form. The Greeks, who were simple in their habits and therefore pure in their thoughts, recognized no delicacy in garments, no indelicacy in what artists call ‘the nude.’ To descend to a lower vein. ‘Cendillon’ is simply a ballet where no extreme is touched, but where the just medium is attained. The girls who take part in it are not ridiculous from the brevity of their attire. They please the sense of sight by the variety of their costumes, and the many colored lights in which they appear. Beyond this there is not a word to be said. The play itself is a somewhat dreary version of the old story. For the sake of contrast the dramatist has introduced aa series of quasi comedy scenes. Perhaps the fun is better for this reason, but we were unfortunate enough not to recognize the fun. What we did recognize was a very beautiful spectacular piece played rapidly and almost successfully. We say almost successfully, because it would be ridiculous to ignore one or two blunders which took place last night. These blunders being mechanical, will of course be remedied. They are trifles, and should not interfere with the general estimate of the work. Taken for what it pretends to be, ‘Cendrillon’ is a work which deserves the patronage of the public. The dresses are good—effectively contrasted in color and so forth; the scenery in the tableaux also good; the acting excellent—better than we expect in such a piece.”

Ballet described, but music not mentioned.

Music not mentioned.

“The holiday piece which is likely to win the favor of all those rosy rulers of the season—the children! is now on the threshold of a successful career.  The rowdy audiences which monopolized the beautiful little theatre for two nights, having discovered that their prurient expectations were not fulfilled, and that the play, the ballet and all their surroundings were disgustingly decent, have remained away, and given room for the ladies and children, who now go to enjoy childhood’s prettiest legend—Cinderella, surrounded with all the beauties that human loveliness, skill and art can lend. . . . On Saturday afternoon the hitches were almost as numerous as upon the first night. This is almost unpardonable, and the public have as much right to resent it as they would to find fault with their baker.”

Focus on ballet, particularly attire of dancers, or lack thereof.