Cinderella

Cinderella!   The most famous, most oft produced pantomime of all. Unusual too, in that the two (uniquely in Panto) Dames, are baddies. In this production, late starting due to a traffic incident on the nearby A3 road, we had yet another Dame, a real woman too and moreover the real life wife of the late arriving Nigel Cassidy as Maxie Mum. The other, real male throughout, Dame Minnie Mum was played by Mike Read. Fortunately, MMT have the multi gifted  Bee Cassidy, also stage manager no less, to step in.    Bee suddenly appeared in Dame costume to announce in magical style, to a pre-warned audience, that she would be stepping in until Nigel arrived, which he did safe and sound half way through act 1.

Only in Panto can this situation actually enhance, rather than mar the show. As someone who has loved Panto for over sixty years - "Oh yes I have" - I simply loved this situation. However, I have enormous sympathy for the company and especially the three dames involved and, most of all, the admirable show director Ziggi Szafranski who appeared, in public, calm and relaxed. What he was really feeling inside I can only guess!

The sparkling Fairy Godmother charmingly played in individualistic style by Annie Genower introduced herself in her grotto in the Royal Forest.

Polly Ashton as Dandini and Ellen Fermie as Prince Charming together with a chorus of a fairy (Florence Bastin) and cheeky elves (Flynn Mclauchlan and Bee and Nigel's two sons Edward and Harry), gave a rousing rendition of "Good Day Sunshine."   A humourous insertion was the scene where Prince Charming was presented with a choice of three agricultural girls (Freda Fertiliser was one) - Sloane Rangers they were most definitely not, and they would certainly not be shopping at Harrods!  A good start, but it got better still when Steve Nottage as a charismatic, warm hearted Buttons joined in to sing "Always Look on the Bright Side of Life". Inevitably this song always brings to mind the comically ironic scene in Monty Python's "Life of Brian", but it was a sound choice all the same and well danced too.

Kevin King was the "under the thumb" Baron Mum with Alison Wheeler the dominating Baroness Mum, appearing with a Basil Brush fox, newly shot by the Baron, wielding a shotgun. Their "Chu-Chi Face"  duet was humourously worked.

Isabel Barrett was well cast as Cinderella, sweet and pretty, but put upon by the Uglies and her Stepmother, the Baroness. She sang nicely throughout, none better than in "I have a Dream".

Bee and Mike gave us a wonderful "There is nothing like a Dame" acted to the hilt, even with a script in Bee's hand, which she scarcely needed. Nigel now appeared on stage in the Hunt Ballet with all the other dancers, initially "sans peruke"  and took over seamlessly from Bee, amid more madcap comic dancing capers.

In this particular script Dandini was made into a baddie. Dandini is a difficult part to pitch, his main purpose being to pose as the Prince. This interpretation gave the character more depth and I really liked the way in which it was played. Polly relished this role, playing it with presence and elegant grace. Her song "I Want it Now" was splendid.

Ellen as Prince Charming looked every inch the part, though not the strongest singer on stage, she put over "Wonderful, Wonderful Day" rather well alongside the enthusiastic company.

Bill Minter was a most realistic Town Crier, reminding us we were in 1789.

Then followed the Sister's Boudoir where these two "gorgeous ladies" were made even more stunning(!) with the "help" of Buttons, before turning their ire on poor Cinders.   A comic delight!

Cinders and four dusting girls gave us "A Happy Working Song" and then back in the Hardup Hall kitchen amid the apples and tea pot the Baroness vented her considerable spleen at Cinders, despite Buttons' attempted intervention.   Enter the Prince, who with Cinders sang a charming duet "I've never been in Love before".

After the Uglies (in "cool" shades) again bullying Cinderella, the old woman in the woods suddenly appeared, revealing herself as the Fairy Godmother, who, with the four young children (each possessing  the "aah" factor), sang "Everything is coming up Roses". Cue many moist eyes in the audience.   

Finally the much anticipated transformation scene and the half curtains opened to reveal a rather special sparkling coach with two girl horses to take the now glamourous Cinderella to the ball.   Always a special scene and in this production the effect was well worked.

After an interval during which the two Uglies held the raffle with comically saucy ad libbed comments (which I loved) - act 2 commenced with the ballroom scene featuring an impressive clock face with a pink surround (standing upstage centre), but disappointingly little else by way of scenery.  Andy Bloomfield got the very most from his cameo role as Major Domo.

The stately dancing couples, however, were splendidly attired - ladies in beautiful ball gowns with elbow length black or white gloves and the gentlemen resplendent too in period powdered wigs.   Great costumes these and well fitted too, under the eagle eyes of wardrobe ladies Joan Cannell and Annie Genower.    Good costumes are so vital in quality pantomime and all the ones in this show did MMT proud.

Then followed the comic highlight of the evening where Darryl Tullett as Emcee, together with Nigel and Mike gave us panto at its finest in the suggestive "Two Ladies" - eat your heart out Joel Gray!

A well worked tap routine ensued, featuring Buttons with six dancers and then Ellen as Prince with a reprise of "I've never been in Love before", sung with feeling. 

The "behind you" spooks appeared in the Uglies' bedroom, to great effect.    Loved by generations past, present and (surely) to come, this timeless and pivotal part of true panto is the highlight for kids from three to ninety-three, especially when timed and worked as well as it was here.    Featuring two dames, with a devil's trident, a hammer and good use of the Uglies' bed and wardrobe, the scene concluded with the less than ladylike sisters being chased through the Hall.  An absolute hoot!

Meanwhile Prince Charming had called at Hardup Hall, with the slipper for his lost princess to try on. I waited in anticipation for the false leg routine and the "Crystal Palace" gag, which dutifully and happily arrived. Thanks Ziggi, you made an old man happy tonight!  Cue Cinders, fresh from the wardrobe, to fit the slipper and then claim the Prince, much to the disgust of the Uglies.

Buttons then got knighted - and so he should after this performance - and arose as "Sir Buttons, Lord of the Flies." Natch!

After some Maxie Mum / Drummer flirting, it fell to the Baron and Sir Buttons to run the songsheet "My Bonnie lies over the ocean etc" with much audience participation, which I will  certainly praise, even though my knees may disagree.

Finally came the joyous walkdown in set panto order and we were into a rousing finale of "Always look on the Bright Side of Life".   After this production, I certainly did so.

Praise for the three piece band - with a charismatic percussionist who was fully involved with the show, even from the Hall. Elizabeth Cooper, the Musical Director ensured all the singing was of good or satisfactory standard and her band gave full and enthusiastic support without ever drowning the singers.

Choreographer Emma Hone set mainly simple routines which were on the whole carried out with precision. She must also have been relieved when Nigel arrived!

Director Ziggi Szafranski, whose first MMT production this was, used his players well.  Pace was kept up and  diction was mostly admirable throughout and the sets swiftly changed, though generally and sensibly not too much furniture was used, despite  my earlier Palace ballroom set comment.   Lighting by James Dicken was used effectively. All the true panto customs were faithfully observed and the evening was a most enjoyable one.

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