Friday, March 28 and Saturday, March 29 2025 at 7:30PM
CENDRILLON
An Operetta in 3 Acts
Music and Libretto by: Pauline Viardot
English Performing Edition by: Dr. Harry N. Dunstan
BLUEBEARD’S WAITING ROOM
An Opera in One Act
Music and Libretto by: Milton Granger
Music Director: Dr. Andrew Voelker
Stage Director: Dr. Katie Burnham-Sinclair
Lighting Designer: Jon Daniels
Sound Engineer: Joshua Barkley
Costumes and Props Assistant: Antoinette Parisi
Rehearsal Pianist (Cendrillon): John Oswald
Cast
Cendrillon
Cendrillon (Marie): Catherine Boyd
Fairy Godmother: Gloria Diederich
Maguelonne: Kenzie Caccamo
Armelinde: Sarah Poirier
Le Prince Charmant: Matthew Reed
Le Barigoule: Manny Coleman
Le Baron de Pictordu: Kameron Karim
Chorus: The cast of Bluebeard’s Waiting Room
Bluebeard’s Waiting Room
Registered Nurse (RN)
Kristen Sita
Licensed Practical Nurse (LPN) Maria Tartaglia
Mirette Danielle Albrecht
Suzette Antoinette Parisi
Fanette Angelina Rubiano
Luciette Madeline Nokland
Claudette Alyssa Bonfardeci
Doctor (offstage voice) Dr. Andrew Voelker
This performing edition of Cinderella is made possible through arrangements with The American Center for Puccini Studies. Please send all inquiries for performance rights to PucciniAmerica.org.
Synopses
The story of Cinderella (Cendrillon) extends far into our collective human past, being told and retold in countless ways across centuries of art, poetry, music, and here in opera. Certain elements are consistent across the many versions, such as the poor, rejected girl who encounters a Prince and lives happily ever after. In Pauline Viardot’s version written in 1904, we have the unkind family with mean sisters, but unlike the famous Disney film, they are full siblings. Marie (Cendrillon) is the least favorite of the Baron de Pictordu’s daughters, so much that she isn’t even allowed to call him “Father”. We learn that her mother passed away when Marie was a child. For as much poor treatment as she endures, this Cinderella maintains a quiet, loving grace.
In similar fashion to the story told in Rossini’s La Cenerentola, the Prince returns to the realm after many years abroad. Seeking love, and not wishing to deal with suitors who only desire his money, he goes undercover. Costumed as a beggar, he shows up at the Pictordu house. Only the humble Cendrillon greets him with kindness. He continues his covert operation by planning a grand ball. To maintain his cover though, he assigns his chamberlain, the Barigoule to disguise himself as Prince.
Through twists and turns of hidden identities, and a bit of magical guidance from the Fairy Godmother, all resolves to joy and happiness for all ever more.
Bluebeard’s Waiting Room is a fresh, new take on the mythical legend of Bluebeard, a wealthy man with the unfortunate habit of murdering his wives. Over years and eras throughout the centuries, he continues his evil plot, not dissimilar to the libertine Don Giovanni of Molière and Da Ponte, but with a penchant for marrying and killing. Like much of the source material for Viardot’s Cendrillon, the story of Bluebeard was notably recorded in Charles Perrault’s 1697 collection of myths and folk tales, Histoires ou contes du temps passé.
This one-act opera by Milton Granger goes in a new direction in the tale of Bluebeard. Here the story begins after Bluebeard has suffered a major cardiac event and lies near death in a hospital room. An experienced RN and new LPN discuss the details of his situation while seeking out a spouse or other emergency contact. Soon, his wife arrives. While they wait for Bluebeard to regain consciousness, the nurses work to gather more information on the family and this mysterious, blue patient. Shortly thereafter however, more women arrive, all claiming to be Mrs. Bluebeard, and each seemingly from very different times and places.
When Bluebeard finally awakes, chaos ensues as each wife goes to see him, but is immediately rejected. So, which one is really his wife? Will he survive?
