Study Guide for Educators

PRESENTS

Music by RICHARD RODGERS

Lyrics by OSCAR HAMMERSTEIN II New book by DOUGLAS CARTER BEANE

Marian Theatre: Nov. 12 – Dec. 23, 2015 Original book by OSCAR HAMMERSTEIN II PCPA – Pacific Conservatory Theatre

Table of Contents

Welcome to PCPA/Theater Etiquette……………………………………………….. 3 How to Use This Guide…………………………………………………………….... 4 Production Team and Cast…………………………………………………………... 5 Elements of the Story Plot Synopsis………………………………………………………………… 6 Themes and Key Words……………………………………………………... 8 A History of Fairytales……………………………………………………….. 9 Elements of the Production About the Authors………………………………………………………….... 10 About the Production………………………………………………………... 11 Design Concept……………………………………………………………… 12 Activities Discussion Questions………………………………………………………... 13 Preshow Games…………………………………………………………….... 14 Ruling the Kingdom Game…………………………………………………... 15 Coloring Castle………………………………………………………………. 16

Welcome to the Royal Palace at PCPA

A NOTE TO THE TEACHER Thank you for bringing your students to PCPA at Allan Hancock College. Here are some helpful hints for your visit to the Marian Theatre and our Royal Ball. Our top priority is to provide an enjoyable day of live theater for you and your students. We offer you this study guide as a tool to prepare your students prior to the performance, and to prompt discussion, critical thought, and creativity before and after the performance.

ETIQUETTE FOR YOUNG LORDS AND LADIES ATTENDING THE BALL Notable behavior is a vital part of theater for youth. Going to the theater is not a casual event. It is a special occasion. If students are prepared properly, it will be a memorable, educational experience they will remember for years.

1. A royal chaperone should always be with the students. Ushers are available to help with seating. We suggest that teachers sit in between students to help maintain order during the palace festival. Remember, courtiers in waiting must always be accompanied by an experienced adult!

2. Please remind our special invitees that we do not permit: food, gum, drinks, smoking, hats, backpacks, or large purses disruptive talking disorderly and inappropriate behavior (stepping on/over seats, throwing objects, etc.) cell phones or any other recording devices Light up or noise making objects (including shoes) (Adults are asked to put cell phones on silent or vibrate)

3. Before attending the show, teachers should take time to remind students of the following about a live performance: Sometimes we forget when we come into a theater that we are one of the most important parts of the production. Without an audience there would be no performance. Your contribution of laughter, quiet attention, and applause is part of the play. When we watch movies or television we are watching images on a screen, and what we say or do cannot affect them. In the theater the actors are real people who are present and creating an experience with us at that very moment. They see and hear us and are sensitive to our response. They know how we feel about the play by how we watch and listen. An invisible bond is formed between actors and a good audience, and it enables the actors to do their best for you. A good audience helps make a good performance.

PCPA welcomes you as a partner in the live theater experience from the moment you take your seats. We hope that your visit will be a highlight of your school year

HOW TO USE THIS GUIDE

This study guide is a companion piece designed to explore many ideas depicted in the stage production of Rodgers and Hammerstein’s Cinderella (2013 revival). Although the guide’s intent is to enhance the student’s theatrical experience, it can also be used as an introduction to the elements of a play and the production elements involved in the play’s presentation. While many students are familiar with a variation of the story Cinderella in pop culture, this specific stage adaptation offers a fresh perspective on the tale of the underdog. It inspires conversation about community and symbiosis in a contemporary world characterized by division and hostility.

The guide has been organized into three major sections:

Elements of the Story

Elements of the Production

Activities

Teachers and group leaders will want to select portions of the guide for their specific usage. The discussion questions provided are meant to provoke a line of thought about a particular topic. Frequently, the answers to the questions will initiate a process of exploration and discovery of varied interpretations sometimes deviating from original ideas. It is recommended that these thoughts be encouraged and discussed. This can be as insightful and rewarding as the wonderful experience that Rodgers and Hammerstein’s Cinderella creates onstage.

Outside resources from literature and pop culture are a wonderful way to make learning immediately relevant to everyday life. Listed below are a variety of materials which can be used in conjunction with lesson plans and the discussion of the theatrical elements and themes of the stage production:

Films: • Cinderella (1950), the animated film produced by Walt Disney. Rated G. This is the most popular film adaptation of the story. Take a moment to compare the difference between how Cinderella gains opportunity in this version versus earning it in the stage adaptation.

• Ever After (1998), the live action film directed by Andy Tennant. Rated PG-13. This version is set in 16th-century France and closely mirrors the version of story depicted in the stage adaptation.

Books: • Cendrillon by Charles Perrault, published in 1697. This is the first time a fairy godmother, glass sippers and magic pumpkins appear in a version of the story. English translations are in the public domain and available for free online.

• Aschenputtel by the Brothers Grimm, published in the 19th century. A wonderful telling that can be used to introduce the concept of Fairy Tales, collectors of folklore, and the international scope and versions of the Cinderella story. English translations are in the public domain and available for free online.

Note: Egyptian, Greek, and Native American versions of Cinderella can also be found and used in coursework.

Music by RICHARD RODGERS Lyrics by OSCAR HAMMERSTEIN II New book by DOUGLAS CARTER BEANE Original book by OSCAR HAMMERSTEIN II

CREATIVE TEAM

Director/ Choreographer Michael Jenkinson Music Director Brad Carroll Voice & Text Director Andy Philpot Scenic Design Jason Bolen Costume Design Eddy Barrows Lighting Design Jennifer ‘Z’ Zornow Sound Design Elisabeth Weidner Assistant Director Nicholas Kowerko Assistant to the Choreographer Alex Stewart Production Stage Manager Jahana Azodi* Stage Manager Ellen Beltramo

CAST OF CHARACTERS

Ella Molly Wetzel Topher Jordan Stidham Madame Kitty Balay* Sebastian Peter Hadres* Marie Elizabeth Stuart* Gabrielle Karin Hendricks Charlotte Annali Fuchs Jean-Michel Matt Koenig Lord Pinkleton Spencer Hamilton Giant Erik Stein*

ENSEMBLE

George Walker, Alex Stewart, William Hoshida, Zach Johnson, David Miller, Blake Brundy Sierra Wells, Courtney Reece, Natalie Graham, Catherine Evangelho, Libby Hawkins, Brittany Law

MAGIC ENSEMBLE

Julia Towers, Jenny Nelson, Madeline Moeller, Ari Lagomarsino, Quinn Farley Garrett Gibbs, Tux Johnson, Devin Cunningham

* Member, Actors’ Equity Association

“CINDERELLA”: A SYNOPSIS

ACT ONE: Once upon a time, in a forest far away lived ELLA, a young woman who dreams of a beautiful and kind world while doing chores for MADAME, her stepmother (The Hills Are Every Shade of Yellow). On the other side of the kingdom, PRINCE TOPHER has defeated a giant in battle. Despite his success and his upcoming coronation to the kingship, he struggles to find his purpose in life (Me, Who Am I?). Prince Topher comes upon Ella in the forest and is impressed by her friendliness to a homeless woman named MARIE. Political activist JEAN-MICHEL arrives to share his newest ideas about the problems between the Molly Wetzel as Ella and Jordan Stidham as Prince Topher rich and poor just as the Prince and his party are heading back to the palace. When Madame and her daughters, GABRIELLE and CHARLOTTE, return from shopping, Jean-Michel offers a book to Gabrielle, whom he secretly loves. Madame quickly rejects the book, causing Jean-Michel to give it to Ella instead. With the stories, and the help of her imagination, Elle dreams of life beyond her rags (In My Own Little Corner). Back at the palace, preparations are made to host a ball to find Prince Topher a wife (An Announcement). The prominent members of society are excited about the ball (The Prince is Giving a Ball), but Jean-Michel gathers the poor to stand up for themselves (Now is the Time). Marie watches all the chaotic excitement from a distance while talking to herself (Folderol). The Lord Chancellor, SEBASTIAN has a private audience with Madame to plan for Gabrielle and the Prince to marry. Madame throws Jean-Michel out when he calls with flowers for Gabrielle. After everyone leaves and starts for the ball, Marie magically reveals herself as Ella’s Fairy Godmother and begins the process of getting Ella ready for the ball. Marie magically transforms the world around her into royal attendants, a pumpkin carriage, and glass slippers, proving to Ella that practically anything is possible (Impossible / It’s Possible)! Donning her new outfit, Ella is unrecognizable as she arrives to the ball just as it is beginning. The attendees are playing a royal game, “Ridicule,” where complaints and insults are hurled at each other. Ella and Madame match off and everyone is surprised when Ella compliments Madame. Enamored by the concept of kindness, the castle fills with warmth and joy. Prince Topher immediately becomes infatuated by this beautiful stranger (Ten Minutes Ago). The bell tolls twelve as they are about to kiss. In haste, Ella tells the Prince of many people suffering in his kingdom and pleads with him to help establish peace. Ella leaves, dropping one of her glass slippers.

ACT TWO: Prince Topher organizes his guard in an effort to search for Ella (The Pursuit). Charlotte, left at the palace, is distraught (The Stepsister’s Lament). Madame and her daughters finally return home and discuss the evening. Ella shares how she “imagined” the evening (When You’re Driving Through the Moonlight). All the women of the house join Ella in her dream about true love (Lovely Night). Night falls and Madame and Charlotte go to bed. Alone, Gabrielle shows Molly Wetzel as Ella and Kitty Balay as Madame Ella that she is sympathetic to her. They tell each other what no one else knows: that Ella was the stranger at the ball, and that Gabrielle loves Jean-Michel. Stumped in the chase, Prince Topher has returned frustrated to the palace (Loneliness of Evening). He demands that a grand banquet must be prepared in order to find Ella. Madame hears of the feast and returns to the cottage get ready with her daughters. Gabrielle wants to help Jean-Michel serve the poor in the soup kitchen, so she pretends to be sick and offers her dress for Ella to wear to the banquet. Jean-Michel comes to get Gabrielle after Madame and Charlotte have left, but is discovered by Madame who has returned home. She throws Gabrielle out of the house and shreds the borrowed dress Ella is wearing. Marie finds Ella and inspires her to believe in herself (There’s Music in You). Once more, Marie turns Ella’s ripped dress into a beautiful ball gown and sends her to the banquet. Ella and Prince Topher are reunited at the palace and she tells him that the poor will be coming. After the Prince listens to the concerns of the poor of his land, he is moved to hold an election for the first Prime Minister of the land. With everyone abuzz and eager about the new changes in the kingdom, Prince Topher and Ella think about their romance (Do I Love You Because You’re Beautiful?), but again the clock strikes twelve sending Ella running away and leaving her slipper behind. The kingdom is busy the next day with the election and search for Ella. Prince Topher puts the slipper on many a lady’s foot with no success in finding a perfect match. When the slipper fits perfectly a poor girl in ragged clothes, he is overjoyed to see discover it is Ella! He proposes on the spot and announces the winner of the election. Everyone lives happily ever after.

THEMES from CINDERELLA

– ADVOCACY – Sometimes it is necessary for one person to represent and become the voice of many people who aren’t being thought about or listened to. Ella gains the favor of the Prince because she speaks so openly about the problems the poor experience in the kingdom. Jean-Michel becomes an advocate for the people of the lower class and expresses their discontentment with the way they are treated. Because they speak out, changes are made in the land, and an atmosphere of kindness unifies the people.

– TRANSFORMATION – The desire to change and be “made over” is a universal experience shared across cultures. Can you recall what you wanted to be when you grew up, even if it seems/seemed impossible at the time? Ella becoming a princess or having her peasant dress made into a beautiful ball gown is perhaps the most enjoyable emotional experience of the show. She has beaten the odds. The Prince has a second chance to become the ruler who brings good to the land. Transformation doesn’t require a magic wand, but it does mean putting a great deal of effort into creating change. It’s possible!

– OPPRESSION – Sebastian wants to keep his position of authority and power. To do so, he keeps secrets from Prince Topher about how he is ruling the kingdom and using the citizens for his own personal gain. Dishonesty and propaganda are tools Sebastian uses while falsely appearing loyal and kind. Rather than setting the example as a good leader who guides and does what is best for the people, he only thinks about himself and causes other people pain.

– KINDNESS – Ella sets in motion the concept of betterment and change throughout the kingdom when she is kind to Marie and to Madame at the ball. People see the way she offers kindness and they like how it feels to be treated in this manner. In turn they begin to “change” as they embrace the act of kindness, until even the Prince is mesmerized by its power. True leadership isn’t found in how much control someone has, but in how they treat and care for others who in return follow her/his example.

KEYWORDS

MAGIC: a mysterious or BALL: a formal dance. supernatural force and power. KINDNESS: a friendly, ELECTION: an event generous or considerate act. ROYALTY: a person who is where citizens get to vote for a from a bloodline of rulers. representative. LONELINESS: a feeling of isolation or lack of purpose. FAIRY GODMOTHER: a STEPSISTER: a sister who is guardian who is protecting and a result of marriage but has RADICAL ACTIVIST: an looking out for someone. different parents. individual who has ideas for dramatic change. CLASS: a characteristic which PALACE: the fancy home of indicates someone’s wealth. the ruler.

THE BEGINNING OF ONCE UPON A TIME…

Once upon a time, someone began telling the first fairytale. But nobody knows for sure when that happened! A fairytale or fairy-story typically draws from folklore and contains elements of magic or mythical creatures like dragons, fairies, dwarfs, elves, gnomes, trolls, witches, etc. What sets fairytales apart from any other story is that fairytales have a moral or message. These stories have been passed down orally for thousands of years; for example, when someone tells a bedtime story from memory. In 17th-century France, a lady named Madame d'Aulnoy was one of the first to write these stories down and coined the term "Fairytales" which grew to become the genre of literature it is today.

CHARLES PERRAULT (1628-1703) Another man was writing down folk tales in France as the fairytale genre was emerging on the literary scene. Charles Perrault is credited for penning stories that have become very familiar today: Le Petit Chaperon rouge (Little Red Riding Hood), La Belle au bois dormant (The Sleeping Beauty), Le Chat Botté (Puss in Boots), and of course, Cendrillon (Cinderella). Perrault gave readers glass slippers, magical pumpkins, and a fairy godmother for the first time. Some of his stories came from a collection called Tales and Stories of the Past with Morals (Histoires ou Contes du Temps passé), which are subtitled and seen as the beginning of the "Mother Goose" stories. After resigning from the Académie française, he dedicated his life to his children and wrote stories for them. His work and legacy have in turn affected the entire Western world.

THE BROTHERS GRIMM Jacob and Wilhelm Grimm, commonly known as “the Brothers Grimm,” popularized and increased the fairytale canon of literature throughout Germany in the 1800s. As professors they created the field of German studies during the German Romantic period. Many fairytale authors influenced the Brothers Grimm, including the work of one Charles Perrault. The brothers specialized in folklore and would travel to collect stories from people of all classes: peasants to kings. Their work was well received as the culture turned their interest toward nature, a subject Jacob and Wilhelm readily supplied. Consequently, their version of Cinderella (Aschenputtel) focuses a lot on the forest and even has Cinderella finding help and encouragement in a wishing tree rather than a fairy godmother. Over their lifetime they published multiple collections of fairytales and songs which they continued to revise until their death. Some of the most famous stories include Snow White and the Seven Dwarfs, Rapunzel, Hansel and Gretel, and Aschenputtel. The Brothers Grimm have had their works translated into more than 100 different languages and adapted as the foundation for many books, television programs, radio shows, and theater performances. Their far reaching hand shows how fairytale themes of can be universally resonant. Did you know that fairytales were originally written for both adults and children? The association between children and fairytales grew stronger when the Brothers 9 Grimm entitled their collection "Children's and Household Stories."

MAGICIANS AND MUSICIANS: RODGERS AND HAMMERSTEIN

Richard Rodgers and Oscar Hammerstein II, often referred to as Rodgers and Hammerstein, are considered the greatest musical theatre writing duo of the 20th century. Both Rodgers and Hammerstein attended Columbia College and, along with fellow undergraduate lyricist Lorenz Hart, first collaborated on the 1920 Variety Show: Fly With Me. After college, Rodgers found success on Broadway with Hart early in their careers with over 20 shows including the well-known Babes in Arms and Pal Joey. Hammerstein also became well known in New York due to his work with Jerome Kern on musicals such as Show Boat. Hart's health went into decline and Rodgers turned to Hammerstein for help with a musical adaptation of Green Grow the Lilacs. This first collaboration became the timeless production, Oklahoma!. The success turned into 34 Tony Awards, 15 Academy Awards, 2 Pulitzer Prizes, and 2 Grammy Awards. Their cannon of work featuring the titles Carousel, South Pacific, The King and I, The Sound of Music, and of course Rodger and Hammerstein's Cinderella is iconic of the 1940s and 1950s, the era known as the "Golden Age" of musical theatre. On the surface Rodgers and Hammerstein's shows are very lighthearted, but the partnership challenged the expectation for musical theatre to be comedic by addressing social issues such as classism, racism, sexism, and domestic abuse in their stories. Although both partners have now passed away, their legacy continues to influence notable theater composers today, a couple examples include Lin-Manuel Miranda and Stephen Sondheim.

Douglas Carter Beane is a playwright and screenwriter who was challenged with adapting the traditional version of Rodgers and Hammerstein’s Cinderella to a full length Broadway show for a contemporary audience. His other work includes The Nance, The Little Dog Laughed, As Bees in Honey Drown, the musicals Xanadu, Sister Act, Lysistrata Jones, and Rodgers and Hammerstein's Cinderella (2013 Broadway Production). Beane has been nominated for multiple Tony Awards and is the present artistic director of the Drama Dept. Theater Company. He also wrote the film To Wong Foo, Thanks for Everything, Julie Newmar. He lives with his partner Lewis Flinn and two children, Cooper and Gaby.

Elizabeth Stuart as Marie and Molly Wetzel as Ella

ABOUT THE PRODUCTION

This new reconceived version of Cinderella by Douglas Carter Beane expands on the original Rodgers and Hammerstein classic musical yet retains its timelessness in a tale where dreams really do come true. In this version Cinderella is a very smart, independent, woman, who's socially conscious. The prince falls in love with her not just because she's a beautiful young lady, but because of her integrity and her awareness of what's going on in his kingdom. In fact, she empowers him to start taking control of what's going on.

The reason Cinderella has been so popular so long is because of the beautiful Rodgers and Hammerstein score, and with the refreshed orchestrations and new added pieces of music from the R&H catalogue, and new book, the show is much more appropriate for a contemporary audience. PCPA is one of the first regional theatre companies to do this version, so it will be very much the PCPA production of Cinderella. It will certainly honor the authors' intentions, but the design will be very original.

The scenery will take us from opulent castle to thatched houses and forests. And, because it is a fairy tale, with no set time in history the costume designer has the freedom to create his own sense of time and silhouette, other than the requisite costume requirements as dictated by the script. The Director/Choreographer promises that the finished production will simply be magic before your eyes.

DESIGN CONCEPT

Designers have different ways of approaching their role in storytelling. In this particular situation, it has been the Designer’s hope that the set does not stand out to the audience but rather complement and harmonize with the other aspects of the production. Read the paragraphs below and compare it to what you see on stage. Can you see how these concepts appear on stage?

Setting: Fairytale forests can be so many things; mysterious, romantic, and even dangerous. Cinderella’s forest was created to incorporate all those feelings and bring the different locations of the story to life. Magic comes from the nature found in Ella’s backyard. Her best friends are the woodland creatures that become the coachman and footman, and the mysterious woman who lives in the forest is revealed to be her guardian spirit. In her life of unjust cruelty, the simple and unexpected things become the most powerful. Magical things are designed to look similar to nature. (Pay close attention to Ella’s golden carriage that looks like a pumpkin and the horses resemble the design of the trees).

Color: Colors were chosen that would enhance the story and also bring the beautiful Roger and Hammerstein score to life. The Designer used clues they could find in the lyrics of the lush and vibrant score. The opening song talks about the appearance of the kingdom: “the fields are aglow in autumn yellow.” Since the tale begins in fall, a color palate was chosen to match the rich images of fall and the tone found in the music.

Shapes: Peasant life and the world of the aristocracy is looks different because of shape. This is a very important distinction the Designer set out to establish. The setting for the Palace and Royal functions takes on a smooth stone look. This contrasts more natural and circular settings of the dwellings belonging to people like Ella or Jean-Michele.

A Note from the Costumer: A Collective Memory

Cinderella is one of those Collective Memory pieces. To explain that statement; our Collective Memory tells us that blue and yellow make green, that good guys wear white and bad guys wear black. Our Collective Memory reminds us of the smell of strawberries when we see a picture of strawberries, and when we hear the word "witch," our memory reminds us of pointy black hats and green skin.

I threw away all my Collective Memory of Cinderella. I started scribbling on white pages in a bound sketchbook. Almost immediately, our collective of designers arrived at an autumn color palette. Crisp, frosty mornings punctuated with a harvest of golden, burnt-orange and red leaves falling from a glycerin blue sky. In my mind, autumn is a "spice" most of us savor.

I took several morsels from the artist/illustrator Maxfield Parrish, daubed on a dollop of Marie Antoinette's lavish affections for sugary delights, pinched a smidge from fairytale illustrator Arthur Rankham, sprinkled a smattering of actual costume history, and then stirred it all into the ratatouille you see on stage.

DISCUSSION QUESTIONS:

1. Leaves, trees, animals, and life abound on this stage! What is Cinderella’s connection to nature? How does her awareness of the world around her help her open the eyes of the kingdom to the life and people around them?

2. Why is Madame so determined to have one of her daughters marry the Prince? Prince Topher has lots of money but is still unhappy and confused. Do you think money makes people happy?

3. There is a lot of conflict throughout the kingdom. The royals battle the giants. The poor are unhappy and mistreated by the upper-class. Is there peace in the kingdom at the end of the play? Do you think this peace will last? Is there an event from history that closely mirrors the unrepresented citizens shown in Cinderella?

4. Everyone is human and makes mistakes—even the people we look up to the most. What mistakes do Ella, Prince Topher, Jean-Michel and the other heroes of this story make? Is it okay because everything ends up alright in the end? What steps should happen after anyone messes up?

5. At first Ella believes it is “Impossible” for her to go to the ball. But when Marie shows her the way and she steps out in faith, it suddenly becomes “Possible!” Can you think of a situation where someone had to believe they could do something and had to step out in faith? Is there a time in your life you had to do that? If taking a shot ends in failure, is it still worth it?

6. Charlotte and Ella have a sort of sibling rivalry while Gabrielle is vulnerable and becomes close with Ella. Is the conflict in the story a bad thing? Is there conflict in your family or community? Is there a way to successfully handle conflict bring peace?

7. How is this version of Cinderella different from other ones you are familiar with? Does it change the meaning of the story?

8. Look up a version of Cinderella from another culture: China (Yeh-Shen), Egypt (Rhodopis), Russia (Vasilissa the Beautiful). What can you learn about what these cultures value? What makes a heroine? Who is a modern day heroine?

Here are some links to a few versions of Cinderella!

1. Yeh-Shen: http://traditions.cultural-china.com/en/211Traditions8980.html 2. Rhodopis: http://www.egyptianmyths.net/mythslippers.htm 3. Vasilissa: http://www.arvindguptatoys.com/arvindgupta/65r.pdf

MARIE’S MAGIC TRANFORMATION: PRESHOW ACTIVITY

Did you know that Oscar Hammerstein II was studying to become a lawyer when he dropped out of school to start writing for theatre? Walt Disney worked as an editor at a newspaper and was fired because he "lacked imagination." Both of these individuals are partially responsible for making Cinderella what we know it is today. Stories of personal and career transformation exist in many industries and cultures. Steve Jobs, Founder and former CEO of Apple Inc. quit the computer industry to move to India and study Buddhism. He later returned and built Apple Inc. into what it is today.

It is never too late to pursue a new goal or career. Take some time and have students research a fictional character or historical figure that transformed and then share their findings with the class! Make sure to look closely: good stories always transform or change their character in some way, it's called an arc or inner journey. Here are some examples to get you started:

- Elsa from Frozen - Lucille Ball - The Ugly Duckling - The Beatles

BEAUTIFUL, BECAUSE I LOVE THEM

In some accounts of popular Fairytales, the pretty Princess meets the charming Prince, and they fall in love to live happily ever after. Well that seems a little superficial to build a long lasting relationship. The 2013 Broadway production of Rodgers and Hammerstein's Cinderella has Prince Topher realizing his attraction to Ella after she confronts him about the problems dividing the people. It is Ella's character: her mind, heart, kindness, and genuine care for others that puts the Prince under her spell. During the song Do I Love You Because You're Beautiful, Ella and the Prince come to the conclusion that their inner love and care for each other is more important than what someone looks like on the outside.

Think of somebody you know who is truly beautiful. Maybe their inside joy, happiness, and love shines on the outside. Maybe it is your parent or a close friend. Take a moment to write down a few things that make this person beautiful, and then draw a picture of what that looks like. CHARACTERISTICS PICTURE

RULING THE KINGDOM

There are a variety of systems of government that exist throughout the world and in the world of Cinderella. Here are some definitions of a few.

Democracy: a government Socialism: a system where the Monarchy: the Head of State, where everyone has the government owns production such as a king or queen, has opportunity to choose leaders and has charge of the the power to make decisions or gets a say in how things are distribution of goods with the on behalf of his/her citizens. done through a system of goal of everyone having the voting. same rights.

All three of these systems are present in Cinderella in some way. Read the next descriptions and see if you can match them to the definitions of government above!

1. Jean-Michel talks to Ella about the unfair treatment of the poor people. He believes that they should have the same rights and things as the upper-class. This would be a government where ______is practiced.

2. Prince Topher announces that there will be an election for a Prime Minister to represent the people of the kingdom, both poor and rich. Citizens get to vote and this introduces ______to the land.

3. While Prince Topher is the ruler of the kingdom, it is clear to see that Sebastian makes all the decisions. All the power is in the hands of one man. Sebastian wants to continue controlling the Prince and keep the kingdom a ______.

Answers: 1. Socialism; 2. Democracy; 3. Monarchy

FUN FOR ALL AGES: COLORING CASTLE

Use your own imagination to explore and create this castle! What season do you think it is? In what country is it located? It’s all up to you!

We hope you enjoyed your visit to the Palace at PCPA! We hope you come again soon.