prince is told that Cinderella can not possibly be the one, as she is too dirty and ragged. Often, this is said by the stepmother or stepsisters. In the Grimms' version, both the stepmother and the father urge it. The prince nevertheless insists on her trying. Cinderella arrives and proves her identity by fitting into the slipper or other item (in some cases she has kept the other). Conclusion According to Korean scholarship, East Asian versions of Cinderella "typically" continue as the heroine's stepmother replaces the Cinderella-like character for her own daughter, while the heroine goes through a cycle of transformations. Such tales continue the fairy tale into what is in effect a second episode. In The Thousand Nights and A Night, in a tale called "The Anklet", the stepsisters make a comeback by using twelve magical hairpins to turn the bride into a dove on her wedding night. In The Wonderful Birch, the stepmother, a witch, manages to substitute her daughter for the true bride after she has given birth. Works based on the Cinderella story Works based on the story of Cinderella include: Opera and ballet Cendrillon (1749) by Jean-Louis Laruette Cendrillon (1810) by Nicolas Isouard, libretto by Charles-Guillaume Étienne (1814) by Stefano Pavesi La Cenerentola (1817) by Gioachino Rossini Cinderella (1893) by Baron Boris Vietinghoff-Scheel Cendrillon (1894–95) by Jules Massenet, libretto by Henri Caïn Aschenbrödel (1901) by Johann Strauss II, adapted and completed by Josef Bayer Cinderella (1901–02) by Gustav Holst La Cenerentola (1902) by Ermanno Wolf-Ferrari Cendrillon (1904) by Pauline García-Viardot Aschenbrödel (1905) by Leo Blech, libretto by Richard Batka Das Märchen vom Aschenbrödel (1941) by Frank Martin Zolushka or Cinderella (1945) by Sergei Prokofiev La Cenicienta (1966) by Jorge Peña Hen Cinderella, a "pantomime opera" (1979) by Peter Maxwell Davies Cinderella (1980) by Paul Reade Cinderella (1997) by Matthew Bourne taking place in 1940 London using the music of Sergei Prokofiev My First Cinderella (2013) directed by George Williamson and Loipa Araújo Theatre In 1804 Cinderella was presented at Drury Lane Theatre, London, described as "A new Grand Allegorical Pantomimic Spectacle" though it was very far in style and content from the modern pantomime. However, it included notable clown Joseph Grimaldi playing the part of a servant called Pedro, the antecedent of today's character Buttons. In 1820 Harlequin and Cinderella at the Theatre Royal, Covent Garden had much of the modern story (taken from the