Characters in Cinderella

All adult members (including paid-up new members) are entitled to audition for all the adult roles, and assistance will be given in pre-audition rehearsals commencing on Monday 24th September.

Cinderella As the title character, she must be able carry a lot more of the story than most Principal Girls. She has a lot of dialogue, which must be convincing, and she must be able to sing and dance/move well.
Prince Charming A traditional courtly type Principal Boy. "He" must project authority but the audience must want him to find Cinderella.
Dandini The Prince’s aide—often an insignificant part but this script gives him a new dimension. “He” has ideas above his station and plots to foil the Prince’s efforts to find Cinderella. Strong dialogue and singer.
Baron Mumm Cinderella's impoverished father who has made a bad second marriage! Has a heart of gold but is totally under his wife's thumb.
Baroness Mumm Cinderella's stepmother. Domineering, cruel and a snob of the highest order.
Maxie Mumm
Minnie Mumm
The Ugly Sisters. They obviously carry most of the comedy. Maxie is the dominant one and Minnie is the silly one - but both are nasty and vicious when dealing with Cinderella. Traditionally played by men, but we are happy to consider 2 ladies or a man and a lady if they can put the comedy across.
Buttons Buttons is Buttons! General factotum in the Baron's house and Cinderella's only friend. He must have a natural warmth and a rapport with the audience.
Fairy Godmother She appears both as a traditional glamorous Fairy Queen and disguised in cloak and cowl as an "old woman". Must be a singer as she may be leading the chorus at the end of Act 1.
Town Crier Small speaking part for a chorus gentleman - appears in Acts I and 2.
Major Domo Small speaking part for a chorus gentleman - several scenes in Acts 2.


If you take on a principal role you are committing to do a lot of homework
throughout the 3 month rehearsal period and this begins before the audition. To
demonstrate your commitment to the audition panel you should prepare by
reading the entire script several times to understand exactly what the part
involves and how the character fits in to the story. Do your own research into the
background of the character and learn the audition dialogue and music. Directors
will usually give some general pointers as to how they see the character but most
are open-minded and want to see your interpretation.
The Friday Pre-Audition Rehearsal is designed to give you the opportunity to:
  • go through the audition music with the pianist who will be playing at the
    audition; this may be the MD or a rehearsal pianist, however, you should
    already have practised at home.
  • go through the dialogue with the people that will be reading-in at the
    auditions. You should have already thought carefully about the scene and how
    you would expect it to be staged, having regard to references in the script
    describing the scenery and furniture and any stage directions such as where
    the character enters from etc.
  • explain to the readers where you would like them to stand, move around and
    react to your moves.
Bearing in mind that there are many other candidates waiting for their turn,
your session with the readers should take no more than about 10 minutes. This is
not an opportunity for you to ask how you should play the part or deliver a line. lf
you need that sort of help or advice. you should arrange it privately with a
suitable person (not the Director) at another time.