Writer: JM Barrie (adapted by Bethany Sharp)
Director: Bethany Sharp
Watching a winter-themed play that is warm, hilarious and full of heart is always an attractive choice for the festive season. Adapted from JM Barrie’s lesser-known eponymous play, A Kiss for Cinderella, directed by Bethany Sharp, is a lovely revival about a brave and resilient girl against the backdrop of wartime, although details of the performance could shine brighter.
Why would a young woman want board when working as a temporary help? Why would she take a peculiar interest in Germany during air raids? Dubbed Cinderella by her employer, she becomes the subject of a policeman’s suspicions due to her peculiar behaviour. As the policeman unravels Cinderella’s secret, his feelings for her deepen. The story, imbued with themes of hope and imagination, naturally concludes with a happy ending, perfectly suited to the season.
A Kiss for Cinderella, first produced in London in 1916, offers a light-hearted tale set against the grim realities of World War One. This production excels in portraying the former part, especially the whimsy and humour of Barrie’s text, whilst the latter perspective may lack contextualisation. Sharp’s use of a round stage integrates the audience into the performance, particularly during the imaginary royal ball scene, creating an intimate and immersive experience. Cleverly, the staging even extends into the theatre’s outdoor spaces, adding an unexpected dimension. Meanwhile, Sinthu Bhairavi’s portrayal of Cinderella, with her bright voice and natural expressions, brings warmth and charm to the role. Her interactions with Clara Courty Zanca as Cendrillon and Myriam Angela as Ashenputtel are equally engaging, with the trio’s dynamic performances showing that they truly believe in their characters.
The humour of Barrie’s original lines is kept and works effectively, proving that century-old comedic beats can still resonate. Cinderella’s childlike imaginings of royalty are both absurd and endearing, enhanced by playful and dramatic costumes. Additionally, despite its modest budget, the production makes effective use of simple props. A retractable wand and a telescope, used in unexpected ways, elicit hearty laughs from the audience.
However, unlike the original play, which was written during WWI, the lack of detailed explanation of wartime hardships and societal pressures of this production might leave today’s younger audience members (this production is suggested for 8 years and upward) or those unfamiliar with WWI slightly adrift, diminishing the impact of Cinderella’s fears and actions. Also, due to the limited space, the intentional lighting design and the architectural lighting of the theatre building occasionally lead to confusion. Meanwhile, performers trip over lines at times, briefly disrupting the flow.
Overall, A Kiss for Cinderella is a heartwarming and funny theatrical experience. It captures the joy and escapism of a Christmas tale, though there are areas that could benefit from further refinement.
Runs until 14 December 2024
