Does the world need another Cinderella? The tale has been retold for millennia, from China to Hollywood, from the Brothers Grimm to Roald Dahl. Something in the old classic of oppressed heroine and oppressing stepfamily continues to resonate: earlier this year Disney released yet another sequel to its 1950 animated feature. Bruno Bettelheim has pointed to the psychological importance of fairy tales in teaching children that struggles are an intrinsic aspect of life. In that role, Cinderella is still doing her job alongside contemporary avatars such as Batman and Spider-Man.

This new version by Montrealers Michèle Marineau and Mylène Pratt is billed as a “very modern Cinderella story.” However, Marineau, a two-time Governor General’s Award winner, wisely retains the old standbys of magic and royalty. The Fairy Godmother still comes to Cinderella’s aid, equipping her for the ball with a few old leftovers from the fridge. A tomato substitutes nicely for the traditional pumpkin, and the dog acts as chauffeur. The domestic strife has been gentled down, presumably so as not to offend blended families, but Father’s second wife and her TV-addicted daughters are as deliciously self-centred and insensitive as ever.

Children or parents who know the story well will note several puzzling omissions. Midnight strikes at the ball and we never find out how Cinderella makes it home – or how the dog does, for that matter. And where did the prince get that weird speckled shirt?

Originally published in 2000 in French as Cendrillon, this fresh retelling has a distinctly Québécois flavour, particularly in Pratt’s naïve, folky illustrations, a perfect match to Marineau’s quirky text.