Italy. Abbé Jérôme Richard who travelled to Rome in 1762 wrote: "Female Dancers are not permitted on the stages in Rome. They substitute for them boys dressed as women and there is also a police ordinance that decreed they wear black bloomers." Another French traveller that year, Joseph-Thomas, comte d'Espinchal, asked himself: "What impression can one have of ballet in which the prima ballerina is a young man in disguise with artificial feminine curves?" In the original production of The Sleeping Beauty in 1890, a male dancer, Enrico Cecchetti, created the role of the evil fairy Carabosse, although the role has subsequently been danced by both men and women. In Frederick Ashton's 1948 choreography of Cinderella, Robert Helpmann and Ashton himself danced the roles of the two stepsisters. Ben Stevenson later continued the practice of casting male dancers as the stepsisters in his own choreography of the ballet. Other female ballet characters traditionally performed by male dancers are Old Madge, the village sorceress in La Sylphide and the Widow Simone in La fille mal gardée. Women in male roles With the Restoration of Charles II in 1660 women started appearing on the English stage, both in the female roles that in Shakespeare's day had been portrayed by men and boys, and in male roles. It has been estimated that of the 375 plays produced in London between 1660 and 1700, nearly a quarter contained one or more roles for actresses dressed as men. Amongst the 19th century actresses who made a mark in travesti roles were Mary Anne Keeley, who portrayed Smike in the stage adaptation of Nicholas Nickleby and the robber Jack Sheppard in Buckstone's play based on his life; Maude Adams, who played Peter Pan in the American premiere of Barrie's play and went on to play the role over 1,500 times; and Sarah Bernhardt, who created the role of Napoleon II of France in Edmond Rostand's L'Aiglon and once played the title role in Hamlet. In the Victorian era, musical burlesques generally included several breeches roles. According to the Grove Dictionary of Music and Musicians, although "an almost indispensable element of burlesque was the display of attractive women dressed in tights, often in travesty roles ... the plays themselves did not normally tend to indecency." One of the specialists in these roles was Nellie Farren who created the title roles in numerous burlesques and pantomimes, including Robert