Writers: Sally Cookson, Adam Peck and the Original Company
Directors: Jake Smith and Katy Weir
Instead of the usual panto, each December Northern Stage presents a Christmas show that may be pantomime-adjacent in its subject matter, but which generally avoids the usual panto clichés for something altogether “classier”. And while this is still the case this year, Cinderella: A Fairytale often veers very close to Pantoland, and frankly is all the better for it.
This production has almost all of the elements of any retelling of Cinderella. The basic story and plot points are all here, but this production completely dispenses with the Fairy Godmother. Instead Ella is friends with the local woodland birds who help her in getting to the party at the palace. These birds are very effectively portrayed by members of the cast, with Aron De Casmaker leading the flock. De Casmaker excels at physical comedy whether it is climbing all over the auditorium as part of the pre-show (get here early folks, it’s worth it!), flapping around stage as a woodpecker or a flamingo, stealing the scene as a footman at the ball, or screeching around as the Prince’s chauffer. This is an excellent clown-like performance that brings an element of circus to the show.
Another departure from the usual story is that instead of two step-sisters, this Ella has a step-sister and a step-brother. This works surprisingly well, particularly when their mother decides to double their chances of snagging the Prince by having her son masquerade as a woman – a nice nod to these roles traditionally being played by men. This gives David Fallon (as Brother) amble opportunity to vamp it up as an initially unwilling drag artist, and this performance is a real favourite of the audience. Alongside him is Peace Oseyenum as Sister: it’s a strong pairing with Oseyenum displaying an amazing singing voice as well as a willingness to be utterly grotesque. Even more gruesome is Mother played by Zoe Lambert, a harridan of a woman who even ends up turning against her own children as she wields an axe during the climax. This is a very funny performance but Lambert also displays great versatility by also initially playing Ella’s kind Father before transforming into his wicked widow.
Evlyne Oyedokun plays an Ella smarter than your average Cinders. Tricking her step-siblings into doing her chores for her, her mischievous twinkle is charming and sweet. Ella is probably more central to her own story than usual in this production, and Oyedokun easily manages to provide a strong centre to the show. The same can be said for Charlie Venables as Prince, a nerdier, less assured prince than we are perhaps used to, but wonderfully relatable and funny. He and Oyedokun have good chemistry and their connection and affection for each other are completely believable. Rounding out the cast of seven is Katie Tranter as Queen, another fun performance that injects a lot of character into a role usually glossed over.
The show itself offers a lot of fun moments with the highlights being several sequences where the audience is involved in helping the birds do Ella’s chores with a lot of throwing of socks and paper plates. Similarly the Prince’s quest to find who owns the slipper (here replaced by a silver sprayed lace-up boot) takes him into the audience for some fun interactions. However, there are some pacing issues, with the first act feeling disjointed and a little flabby. Fortunately things greatly improve after the interval with act two being slicker, faster and funnier. The songs are nice but forgettable with many feeling like they were a result of improvisation, and none of the songs last more than a verse or two which avoids audience fatigue but also stops any of them from having much impact.
The warm, rustic, makeshift production design by Alison Ashton and impressive lighting design by John Rainsforth make this show look beautiful and Jake Smith and Katy Weir’s direction nicely utilises the stage, the auditorium and the fact that the audience is sitting on both sides of the action.
Overall this is gentler and more subtle than a traditional pantomime, but still offers plenty to delight all ages. If you are sick of pop song covers, slop scenes and shouting “oh no it isn’t”, then Northern Stage offers an entertaining alternative…. Oh yes it does!
Runs until 6th January 2024
The Reviews Hub Score
Sweet Panto Alternative
