The enchanted tale of Cinderella is familiar across many cultures and age groups. Having been retold in many different ways, this folk tale about a young beauty who is oppressed by her stepmother and stepsisters until a charming prince returns her magical glass slipper has become one of the most iconic of pop culture mainstays. Following in the slippered footsteps of Sergei Prokofiev’s ballet, the Enchantment Theatre Company‘s interpretation transports the viewer to Cinderella’s fabled realm by using puppets, elaborate costumes and extravagant set pieces.

With an established collaborative relationship with the Atlanta Symphony Orchestra that dates back to the ’80s, the Philadelphia-based troupe returns to the Woodruff Arts Center‘s Symphony Hall on Feb. 12 for two performances of The Fabled Cinderella with the ASO and staff conductor Jere Flint.

Featuring music from Prokofiev’s ballet and other folk music, The Fabled Cinderella tells this magical tale with little dialogue (other than narration between each act), letting the story unfold through music and dance.

“We use different things to tell the story,” says Enchantment artistic director Landis Smith, who also plays the prince.  “The stepmother and stepsisters are big body puppets that some of our actors wear over their shoulders and operate the arms and the head. The stepsisters are really just ridiculously funny. The first time they come on stage, the audience just starts to laugh. Most fairy tales have a dark side to them. The way we handle it is with humor. The stepmother and stepsister are very exaggerated and funny.”

In order to keep the audience fully immersed in this fantasy world, the rest of the actors wear equally over-the-top costumes and masks.

“It’s fun telling the story the way we do,” says Smith. “Sometimes a puppet or mask is better at portraying a larger-than-life part like the wicked stepmother or the nasty stepsisters. It’s easier to have those kinds of tools and in some ways more convincing than trying to do it realistically.”

Though The Fabled Cinderella is similar to the Cinderella tale most of us know, there are some subtle changes to some of the characters.

“The prince in this show does parlor tricks,” says Smith. “That’s how he breaks the ice with the girls. He’s very shy and gradually gets his nerve when he sees Cinderella. Another thing that’s different in this story is you don’t get to see Cinderella’s mother or father. You do see how they were a family together, but the mother passes on and the father remarries and brings home the stepmother and stepsisters. They’re not too nice and they subjugate Cinderella to the hearth and make her do all the dirty work because they’re selfish and mean.”

Smith also says that, despite its childlike whimsy, The Fabled Cinderella has been known to delight audiences of all ages.

“Part of our mission with the Enchantment Theatre is to bring people together of all ages and all backgrounds so they can enjoy a story that everybody can understand,” says Smith. “I’m 60 years old and still get to do what I enjoy doing. I don’t know how much longer I’ll be able to play the prince, though. I think I’m getting a little old for that, but I hope it’ll work this time. I’m not as skinny and young looking as I used to be, but I do wear a mask, which helps me cheat. My wife used to play Cinderella, but now she’s the puppeteer for one of the stepsisters. Maybe next time I’ll be one of the stepsisters and one of the younger people will play the prince.”

For more information, go to www.atlantasymphony.org or www.enchantmenttheatre.org.