玛姬·玛汉不但忠实地呈现“灰姑娘”童话故事文本，并且以惊人创造力及想象力贯穿整出舞作，她刻意让舞者带上面具、穿起泡棉舞衣，把大家习以为常的王子的俊俏和灰姑娘的美丽，转化成芸芸众生。舞者戴上面具，视线受到限制，加上服装的设计如同一个个洋娃娃，编舞者要跳脱传统芭蕾的框架，重新诠释这些既定角色。 Maguy Marin's staging of Prokofiev's Cinderella was an unparalleled success throughout its world tour, propelled by a choreographic vision so extraordinarily original and magical that it evokes universal memories of childhood. In Marin's childlike approach to the work, the characters appear as living dolls with human feelings, akin to the way children anthropomorphize their toys. The fairy tale is set in a dollhouse, the Fairy Godmother is a robot, Cinderella's ride to the ball is a toy car, and the Prince's is a rocking horse. Enchanting and brilliant, this is not your mama's Cinderella. 由玛姬·玛汉编舞，普罗科菲耶夫斯基作曲的现代芭蕾舞剧《玛姬·玛汉》在世界巡演中取得了空前的成功，如此原始又充满魔力的舞蹈表演唤起了人们对童年的记忆。玛汉试图更接近孩童的视角，演员打扮成了人形玩偶，宛如孩子的玩具。这个童话被设置在一个玩具屋，教母成了一个机器人，灰姑娘坐着玩具车前往舞会，而王子则坐着摇摆木马。这个绚烂迷幻的故事，可不是妈妈在你床头讲述的那个《灰姑娘》。