La Cinderella
Production
La Cinderella
Doubling Ignacio and Cordova, Dylan Collins moved through Richard Rosen's bilingual Cinderella with colonial San Antonio underfoot and luminarias in the air.
The Credit
Dylan’s Role
The Production
About the Staging
Magik staged its bilingual take on the Cinderella story from July 2 to August 6, 2016, directed by Richard Rosen and Greg Hinojosa, and CTX Live Theatre’s production record names Dylan in the cast.
Dylan was busy at Magik that season, and the credit sits alongside Treasure Island and Charlotte’s Web from the same year.
Editorial Research
A fairy tale moves to San Antonio
Richard Rosen’s bilingual retelling places the Cinderella story in colonial San Antonio at the turn of the nineteenth century.
Behind the Title
The action shifts to San Antonio de Bexar as the year changes from 1799 to 1800. A governor wants his son to marry a local girl, and the familiar search for Cinderella unfolds against the Governor’s Palace, luminarias, and a full moon.
Magik Theatre presented the production from July 2 through August 6, 2016. CTX Live Theatre’s dated listing names Dylan Collins as Ignacio and Cordova and records Richard Rosen and Greg Hinojosa as co-directors.
The production belongs to Magik’s long practice of adapting literature for young audiences while grounding the work in San Antonio history and bilingual performance.
Cast listing on the recordThe Place
Magik Theatre
420 South Alamo Street, San Antonio, TX 78205
Magik Theatre was founded by Richard Rosen in 1994. Its South Alamo home anchors a professional family-theatre company devoted to live adaptations of literature.
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Research and image credits
Editorial Performance Notes
A fairy tale changes language and address
Richard Rosen relocates Cinderella to San Antonio de Béxar as 1799 becomes 1800, letting place, bilingual exchange, and local history reshape a familiar plot.
A doubled track asks for immediate social distinction. Ignacio and Cordova need separate centers, tempi, and relationships to authority so the audience recognizes the switch before costume completes it. Code-switching can help locate audience, intimacy, and power, but only when it grows from the scene’s action.
Luminaria amber, moonlit blue, garden green, colonial stone, and the brighter color of the ball give the story a specifically San Antonio atmosphere. Quick changes and entrance lanes remain invisible craft beneath that romance; the actor has to arrive complete, not still changing on the way in.
Sources for the production record and editorial context: CTX Live Theatre's dated cast and production listing.