Director: Ellis Kerkhoven
Writer: Jon Monie
The magic of Christmas arrives in glittering style at the Grand Opera House York with this year’s musical pantomime, Cinderella. From the moment the curtain rises, the production promises and delivers a lively, family-friendly retelling of the beloved fairy tale, packed with humour, heart, and festive theatricality. The show opens with a burst of star power as stage and screen favourite Lisa George (best known from Coronation Street) steps into the role of the Fairy Godmother. She establishes the warm, whimsical tone immediately, leading us into Cinderella’s world with charm and a touch of sparkle.
At the centre of the story is West End performer Rachel Grundy, whose credits include Starlight Express, Legally Blonde, and The Rocky Horror Show. Her Cinderella is earnest, hopeful, and quietly resilient – the downtrodden daughter of Baron Hard-up (Karl Moffatt), overlooked and overworked by the colourful step-siblings who enter her life through her father’s ill-advised second marriage. These stepsisters, Harmony and Melody (the latter pronounced “Me-lady” for added comic flourish), are played with flamboyant gusto by acclaimed West End drag artists Luke Attwood and Brandon Nicholson. Their larger-than-life presence provides many of the show’s biggest laughs, balancing sharp humour with pantomime’s trademark exaggeration.
Cinderella’s chance encounter with Prince Charming introduces another welcome standout: Tobias Turley, ITV’s Mamma Mia! I Have A Dream winner. The script repeatedly pokes fun at the prince’s supposed lack of intelligence, yet Turley’s performance adds layers of warmth and sincerity. Rather than coming across as dim-witted, his Charming is compassionate, thoughtful, and quietly clever – qualities that ultimately guide the story toward its joyous conclusion. His natural charisma lights up the stage, and he brings a fresh energy to a role often played as a mere romantic archetype.
Much of the production’s success can be attributed to writer Jon Monie, whose work last year on Beauty and the Beast earned high praise. His script blends classic pantomime tropes with witty contemporary references, while the staging embraces spectacle at every opportunity. Lavish sets, imaginative costumes, and the adorable addition of miniature ponies make the show visually delightful, while the cast’s comedic timing ensures laughter rings through the theatre from start to finish. True to panto tradition, audience participation is encouraged and enthusiastically received. Young viewers, in particular, revel in the familiar cries of “He’s behind you!” and the gleeful booing of villains.
The production remains firmly rooted in the traditional version of Cinderella, where both Cinderella and her father are depicted as financially destitute. This choice, while classic, raises some narrative curiosities – particularly regarding the motives behind the Baron’s new wife marrying him only to promptly disappear from the story. Similarly, the show’s one notable deviation from the conventional plot – a brief moment in which Prince Charming and his trusted aide Dandini (Bradley Judge) swap roles à la Pulp’s Common People – feels underdeveloped. Though the idea hints at a fun commentary on class and perspective, it is introduced and resolved so quickly that it leaves little impact and no lasting consequences for the characters.
Despite these inconsistencies, the production shines when it comes to musical choices and lively staging. Energetic numbers like Golden from Kpop Demon Hunters and One Direction’s hit You Don’t Know You’re Beautiful inject modern flair without overshadowing the fairy-tale atmosphere. The show’s blend of pop favourites, traditional pantomime humour, and heartfelt performances ensures it appeals to both children and adults.
Ultimately, while the production could have benefitted from more adventurous storytelling or deeper character exploration, particularly concerning the Dandini-Charming switch, it triumphs through its sheer sense of fun. Filled with sparkle, song, silliness, and warmth, Cinderella at the Grand Opera House York delivers exactly what a festive pantomime should: joyous entertainment for the whole family.
Runs until January 4th 2026
