The Little Glass Slipper as Performed by the Queen of France and Her Friends

Theatre (comedy, historical)

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France 1789. Tension is high and whispers of revolution fill the halls of Versailles. We are at the Queen’s Theatre attending a performance given by Marie Antoinette and her aristocratic friends. It is the 14th of July and today the Bastille will be stormed. Chaos ensues as both play and Ancien Régime fall apart.

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Rick Baraff 149 days ago

This is an amazing piece from so many perspectives. First is the concept.  I love when people are able to extrapolate real events/characters into unique tales that cause you to think or look at such an event/person in a new light.  So conceptually this is fascinating and intriguing from both a story standpoint and as something to be brought to the stage (did someone say costumes?!).  But it goes further because due to the pandemic, the Fringe obviously had to be postponed as a live event and so creators had to get creative in how to present their work virtually.  This is where The Little Glass Slipper again goes to another level.  Yes, I work in film, so excuse a bit of technical… the way that this is presented as a filmed piece that still maintains the feel and characteristics of an actual stage play is fantastic.  With film and cameras you can obviously move around to get different angles and put together something that, well, resembles more of a film rather than a play.  But the conventions of watching a stage play (perspective, in particular) are still inherent here and it truly feels like you’re in a live theater — only now with seats ON the stage rather than simply the first row!  This said, yes, there are a few times where the elements of film come in to nicely augment things (super brief dream sequences, for instance) but again, it’s handled very well.  But you can’t really summarize this play without the incredible performances that every one of the actors pulls off.  As this was filmed, it’s probably the case that it was done in several takes and thus the actors have to maintain energy and train of thought throughout many re-starts.  And it’s flawless.  They’re all pros — so the real enjoyment comes with immersing yourself with these chatty, batty, based-on-real-life contingent of three-dimensional faux/real/faux thespians performing a unique and entertaining show under unique conditions.  Truly, you’ll want to watch it again just to enjoy the moment(s) again.

Francisco Del Corral 150 days ago

YOU HAVE TO WATCH THIS SHOW!!! I can't believe it's free.

A remarkable and comedic portrayal of the last queen of France before the French Revolution left me breathless.

You will be intrigued from the beautiful cinematography to the overall spectacular performance from the entire cast.

To everyone who was a part of this show- BRAVO!
This is something to be proud of.

2nd From Bottom 151 days ago

A twist in the narrative as history meets folk tale. Full review here

Nic Lawton (co-founder of Expial Atrocious theatre company) 156 days ago

"I wish you could have seen the way it was supposed to be."

Everything about this show is stunning. And I mean that literally. The costuming for a start, wow. The other reviews were right when they said this show was a feast for the eyes, and I couldn't agree more.
The stage set wasn't too elaborate for the audience to get lost in or have too much to look at. It was the perfect balance of the set they would have during this performance at the time, and it translated perfectly onto screen to give a real sense of a theatre in action. The way lighting was used throughout the show was just incredible. The contrasting colours indicating onstage and offstage was very clever, as I took the red to mean the danger of the stage and avoiding the truth and for the green backstage to mean exit this way. Getting the chance to see the differences on and offstage was a treat, and very relatable as you always find yourself peeking round the curtain at the audience and having conversations that are unintentionally a bit too loud.
This show reminded me of why I love performing in-person. I think the way this was filmed had a lot to do with that. It highlighted the conversations off stage and zoomed in on the subtle facial expressions shared between the actors on stage, which is something you do when you sense something is going wrong and need to solve it in the moment.
Speaking of actors' reactions, the background acting was brilliant. Everyone remained focused on their character and listened in on others and reacted perfectly.
Also Marie Antoinette crying over the lines she can't remember during a revolution is pure dedication.
The entire concept of this show was genius. I have to hand it to the Miles Sisters, you really know how to write a good script. The parallels weaved together almost effortlessly, and they blended the line between the story occurring onstage and the one happening just beyond the doors of the theatre. It was incredibly clever, and it just worked.
Everything about the physicality of the show was great too, from the tense fight scene behind the shadow screen to Marie thinking on her feet and using mime to continue the story as the use of shadow was momentarily unavailable. The hand-held close-ups of these moments of Marie's panic depicted a very accurate image of what it is like for an actor to try and cover up mistakes. She was clearly distressed and feeling rather awkward, but she carried on and her nervous laughter broke my heart.
There were a lot of humorous moments littered throughout the script but they never detracted from the serious and rather emotional story that lay at the heart of it.
The blurring of the auditorium in audience reaction moments was another example of this show's genius. Though it was partially an obvious editing technique to hide the fact there was no audience, it didn't break the illusion that these actors are from another time, performing to their royally invited guests. It added to the dreamlike aesthetic of the whole show, and reminded me a bit of the National Theatre's recent stage-film of Romeo and Juliet. The close-ups, the slow motion and the music all built this intimate yet tragic image of characters struggling at an important time of their lives.
I loved that one of the themes of this show is "the power of theatre". It was mentioned a few times throughout and it could not be more true. The theatre has the power to change lives, change people's views of certain things and can even completely change people's minds. I know that that's what Marie had wanted from the beginning, and her not getting it in the end was truly devastating.
The music was beautiful in this show and I would love a copy of the soundtrack. The opening song was glorious, but a particularly poignant moment where music was used was when the stage-hand was discussing his living situation. This scene for me was pure theatre, pure desperation, pure beauty. And also expertly acted, I applaud you.
The references to outside influences were also well executed, from that absolutely gorgeous line about the Last Supper, to having Cinderella's shoe fit the Queen and realising that the shoe fitting has more than one meaning.
Marie's childlike qualities toward the end were really emotionally striking for me. As she gazed up from the floor, helpless, I felt an overwhelming amount of sadness. It was a stunning moment, truly.
The ending of the show... wow. It's difficult to put into words just how captivated I was by the visuals, the crying and the filming. As the red smoke gathered above the stage, the fires of the revolution burning in the background, Marie is giving the performance of her life with tear-streaked makeup and the bravest smile I've ever seen. She had my whole heart in this moment.
The use of contemporary music also did not detract from the overall time period of the show. It complimented it well as Marie talks through her emotional madness, determined to finish the story by herself. To tell the end of her story on her own terms.
I will also have that one image of Marie with the veil and falling petals living in my head rent free forever. Breathtaking.
Congratulations to the whole cast and crew for creating this absolutely astonishing show.

Nolan Glenn 157 days ago

The Little Glass Slipper as Performed by the Queen of France and Her Friends showing at Edinburgh Festival Fringe is a phenomenal performance and a must-see in this year's lineup.

Marie Antoinette is bored. To entertain herself, she, along with her closest and most loyal friends, attempt to entertain Versailles' finest. This would be all croissants and chocolate, if it wasn't for the completely annoying revolt happening outside the venue. The Queen and her friends still try their best to wow audiences, captivate the aristocracy, and try at all costs to avoid a knife in the back.

Cara Johnston's script is a work of art. What she is able to convey in just an hour is nothing short of excellence. The timing of the humor, the gravity of the situation, and the talented cast all come together to steal the stage at this year's Festival Fringe. Not to mention the translation to film due to COVID-19 restrictions. The Little Glass Slipper completely halted me, and I cannot get enough of it.

Kirsty Halliday (Thespian and Proud) 159 days ago

STUNNING! Everything about this show was a masterpiece and I could watch it again immediately. The craft that went into the performance, writing, and design was sublime, and I enjoyed every second. Wonderful piece of art - can't wait to see what is next for these creatives.

Amanda Nugent 160 days ago


This show is phenomenal! You do not have to be a French history buff to love this show! The parallels made between the French aristocracy and our modern day celebrity culture are both entertaining and gut wrenching to watch. To catch a glimpse of Marie Antoinette’s perspective of life through her rose colored glasses was so honest and innocent. As the uproar of the peasants of France begins to heighten and the fear, rumors, and betrayal starts to wreck her show, Marie’s insecurities and vulnerability begins to appear through through the cracks. This delicate character balance could not be played by anyone other than Cara Johnston. Magnificent! The show’s lighting, art design, costuming, casting, and film editing were the cherries on top! Bravo to the cast and crew for this fantastic feat!

Dustin Johnston 160 days ago

A stunning creation emanating from a fascination for history and a love of theatre, THE LITTLE GLASS SLIPPER AS PERFORMED BY THE QUEEN OF FRANCE AND HER FRIENDS is a married masterpiece of both.

GLASS SLIPPER is a play within a play. The Queen, Marie Antionette, and her aristocratic friends are attempting to put on a performance of Cinderella and it is not going the way they intended. Not only are the aristocrats obviously untrained actors, but there are talks of riots in Paris leading to a general unease within the palace. This unease quickly topples over into outright chaos as the Bastille is stormed and rebellion breaks into revolution. But as the saying goes, the show must go on!

The small cast is spectacular, every single one of them. From the loyal Princess, played by Milwaukee-based Alicia Rice, who refuses to leave the Queen’s side no matter the cost, to the unstoppable Herald, played by Dallas-based actor Justin Locklear, who simply works at the palace but finds himself swept up in the performance to appease both crowd and Queen. Chet Monday, the Assassin, is a real crowd-pleaser, showing off his skills as both actor and clown in a delightfully unexpected manner. Jennifer Vosters and Anastasia Muñoz round out the cast as the Duchess and the Countess, respectively. And then finally, the Queen herself. From her entrance to the stage to her final line, actor Cara Johnston enraptures the audience with her stellar performance of authenticity and heart. Somehow, she manages to lead you to be both disgusted and infatuated with the Queen in such a short amount of time. Every line delivered by each of the cast members is believable, real, raw, purposeful, and powerful.

I hope you like eye candy because you’re going to get it in spades. GLASS SLIPPER is absolutely gorgeous. The set, the lighting, the costumes, and the editing are all dazzling. The music ranges from classical to electronic and each entry feels like it belongs, adding to either the levity or intensity of the moment. Courtney Miles served as both producer and production designer for the show, painting beautiful set pieces and designing brilliant shadow art projected on scrim. Cara Johnston not only played the Queen, but she produced, directed, and wrote the show. It is truly remarkable that this is the first play from The Miles Sisters. At this rate, it will certainly not be their last.

Playgoers that love history and the French Revolution in particular will find a new favorite in GLASS SLIPPER. The commitment to include historical details imbedded in simple lines of dialogue might go over some heads, but will be caught by the astute history lover, adding layers upon layers of depth and enjoyment for second and third viewings. Even those that are somewhat history-adverse will find a compelling, moving story that is sure to provide many laughs and many tears in an experience that will take an hour but last a lifetime.

THE LITTLE GLASS SLIPPER AS PERFORMED BY THE QUEEN OF FRANCE AND HER FRIENDS is free and can be viewed On Demand via the Fringe Player at any time during the during the Fringe.

Amanda Erickson 161 days ago

What a wonderfully unique and perfectly crafted work of art! This ensemble cast delivered performances full of valor, soul, benevolence and honesty. The parallels created throughout the script and with the unfolding of "Cinderella" are incredibly clever. The camera-work, music, art direction and lighting design were all done to perfection. BRAVO! The Glass Slipper is true mastery of theatre.

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Fringebiscuit (5/5 stars) 145 days ago

A sumptuous feast for the senses, The Little Glass Slipper as Performed by the Queen of France and her Friends excels in every aspect. The impressive cast frolics with an exceptionally smart script that surveys the French Revolution with comic irony and poignancy.

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