Singerella – A Story for the whole Family
- Irena Yebuah TiranRašida Malila/Prepelka, ilegalna begunka
- Mojca PartljičPetunija Mljask, mačeha
- Mozartinka Mljask, starejša posestrima
- Presleyana Mljask, mlajša posestrima
- Mohamed Malila - Momo, Prepelkin oče
- Matej ZemljičMatija Pajk, plesalec in agent Žive mreže
- Žan della Krann, starejši pevski celebrity
- Pavla, organizatorka
- Music: Aleksander Pešut - Schatzi
- Set design: Barbara Stupica
- Costume design: Alan Hranitelj
- Choreography: Natalija Manojlović Varga
- Lighting design: Andrej Hajdinjak
- Sound design: Silvo Zupančič
- Video design: Krištof Modic
- Make-up artist: Nathalie Horvat, Alan Hranitelj
- Language consultant: Mateja Dermelj
- Accompaniment: Diego Barrios Ross
- Set designer assistant: Iris Čeh
- Costume design assistant: Slavica Janošević
- Asistent režije in vodja predstave na vajah: Mitja Lovše
- Stage manager: Urša Červ
Who are the two heartless self-absorbed sisters in a world where some die of an excess and others of a lack of food? And who is the orphan, who despite the suffering and humiliation refuses to give in to bitterness and hatred, and instead, even under a thick layer of sadness and dirt, preserves her physical and inner beauty? Who is the father who married a second time to a greedy seducer whom he does not dare oppose when she turns into an evil stepmother exploiting and despising his daughter together with her spoiled daughters? What is the magic in the world of pretend glamour that will dress up the dirty maid and transform her into an unrecognizable beauty who will steal the heart of the most desirable man around? Will the kind-hearted Singerella, after marrying well, avenge her torturers or will she forgive them and give them a chance to repent and do better? Or will they humiliate and exploit her again? And is prince charming really the jackpot that he seems to be, or is he going to lead Singerella into other types of hell? If deep down he is but another selfish bastard, is this even a happy ending? The answers await in Singerella – A Story for the Whole Family.
[Vito Taufer] has polished the performance and has thoroughly focused on the actors in their virtuoso character creation. The set design by Barbara Stupica is extremely beautiful and imaginative, as are the breathtaking costumes by Alan Hranitelj, whom we are always pleased to see as a costume designer in theatre, where he hasn't been working often lately; they are colourful, meaningful, and consistent with each role, emphasising the character traits of each role. The beautiful costume and set design is complemented by the beautiful make-up of actors by Nathalie Horvat and Alan Hranitelj, and the exquisite, delicately designed lighting by Andrej Hajdinjak. The comedy or musical is perhaps aimed at older rather than younger audiences, but it can realy be a family event. We would like to see more repetitions, as the show is well done (directorially and actor-wise), extremely well-designed, and therefore really offers entertainment for old and young. The show deservedly receives standing ovations from the wider audience and a bright future of success is on its way.
In the adaptation of Cinderella, written in rhymed form by Andrej Rozman Roza and directed by Vito Taufer, patriarchal structures are adapted to contemporary times. Cinderella, renamed Singerella (played by Irena Yebuah Tiran), is an illegal refugee, the daughter of a migrant (Dario Varga), who is in a love affair with the rich Petunija (Mojca Partljič), who, together with Singerella's half-sisters (Romana Šalehar and Maruša Oblak), enslaves the girl with household chores and threatens to report her to the police. The role of the prince or dancing at his court is replaced by a music competition, for which the half-sisters are actively preparing, and the good fairy who helps Singerella to take part in the competition is replaced by the agent of the Living Network, Matija Pajk (Matej Zemljič), who represents a member of the charity organisation. The adaptation also involves all the new media, such as Instagram and TikTok, and the monitoring of the number of followers on social networks. [...] The adaptation is innovative, the rhymes are extremely comical and the verses are sovereignly acted and sung on stage, bringing the show closer to the musical genre. The costume design (by Alan Hranitelj) is also extremely imaginative, reminiscent of the extravagant red carpet looks of various pop stars, partly mocking their excesses.