Cinderella

Cinderella needs no introduction, of course, but in the Director’s Note I read that the origins of the story have been traced back to ancient Egypt! Godalming Theatre Group justly have a very loyal audience for their pantomimes, who return year after year.

The well-designed programme was full of interesting information. The Director’s Note gave a look back to GTG’s fascinating autumn production of Frankenstein 1930, and a look forward to the forthcoming spring treat of High Society.  Later in the programme the Director of this show whetted our appetites even more. Excellent cast profiles even had a cracker joke at the end of each. There was a maze to help Prince Charming find his way to Cinderella. Jolly photos of members of the chorus ran along the bottom of many pages.

With its large cast and plenty of dancing, GTG cleverly maximised the available space on stage by placing the orchestra on top of the scenery at the back of the stage on a kind of balcony arrangement.  Sliding doors, and turning panels changed the scene from Hardship Hall, to the forest glade, to the kitchen, and to the Palace Ballroom effortlessly and very effectively. Props were stored in large boxes on stage, could be whipped out speedily, and cleverly hidden away again in the flash of an eye. These boxes were also used by the cast to stand on, or sit on, when required.

As this was the perfect panto, lighting and sound were used to wonderful effect. There was great use of spots to introduce the main characters at the start (these stood on their boxes, as already mentioned), and then throughout to add to the exciting atmosphere.

The curtain opened onto the Fairy Godmother, who looked a treat, with amazing hair and makeup, as well as a beautifully luminous costume. She set the standard for the rest of the cast, whose costumes were all fabulous, from Cinderella’s ‘rags’, through Button’s red page’s outfit, Baroness Hardup’s glamorously dark outfits – and makeup - , the villagers, the forest creatures and hounds in the hunting scenes, and so on. The foxes and hounds sported marvellous masks too. I especially enjoyed the fact that for the Ball scene, the guests were all dressed in fine red, blue or green ball gowns or tunics, this unity of colour allowing our special characters to stand out. Of course, Prince Charming and Dandini always looked elegant, and indeed charming. Cinderella’s ball gown was wonderful in white. And the Ugly Sisters astounded with their amazingly outrageous costumes. What  joy! A feast for the eye! When I read, and heard, that all the costumes were created by Carol Gallacher I was even more amazed and impressed!

The fine orchestra was very ably directed by Bob Good. It was great to be able to see them too. The music was very well balanced, the orchestra never drowned out the singing which can so often be the case (though not with GTG!) The choice of songs was superb, from the newly written (I imagine) ‘This is our once a year day!’ through the well-known and very amusingly placed ‘Do you love me – now that I can dance’,  ‘ I want to break free’, ‘ There’s a mouse on the stair’ ‘ The 12 days of Christmas’, ‘ This old house’ and many more. All wonderfully and amusingly executed.

GTG’s musical productions are always well-choreographed, here by Sharon Dalton, with the whole cast, whether nimble footed or slightly less so, well able to excel and smile all the way through their performance. Some young dancers showed off their acrobatic skills too.  I especially enjoyed the Irish Dance numbers.

This was, as I said earlier, the perfect pantomime. All the characters were loveable, from Baron Hardup (Peter Flew), through to Bodgett and Leggett (Howard Benbrook and Henry Dalton), our slapstick builders with the corniest of jokes. The exception of course was Baroness Hardup, who was played with delightful menace by Ellie Cahill-Nicholls. The jokes of course WERE corny, though many were indeed really funny, and never too rude. The musical numbers were raucous and full of joy, the dancing a delight. The special effects were great.

The Fairy Godmother’s lines were in rhyme, and Anna Twaits delivered them slowly and clearly so that the youngest audience members could follow them – she, after all, had to set the scene at the start, and explain what was going to happen at the Ball at midnight, and so on. An important touch, in my opinion, as the action was so fast and furious that these quiet listening moments were important for the little ones.

Cheryl Hacker gave us the perfect Cinderella, fine in voice, great presence, a 21st Century Cinders full of vim and character, no demure pretty pretty eyelash fluttering here! She worked with great humour, and was quite brutal to poor Buttons, yet at least he knew where he was!  Joel Llufrio was also the perfect Buttons. He positively bounced around the stage, full of joy and fun, and of course tear-jerking disappointment, as Cinders constantly rebuffed him. Two wonderful performances, perfectly balanced.

Prince Charming (Jenny Seddon) and his valet Dandini (Karen Scull) were also superbly well-matched. They swapped roles, and accents too, really amusingly, and carried off their thigh-slapping entrances and exits with great style and humour. The Prince’s Chamberlain (Brian Fraser) also had an amusing part to play in the proceedings, full of self-importance and delight in his position.

The Ugly Sisters were of course to die for. How long did it take Carol Gallacher to come up with the ideas for all those outrageous costumes? How long did it take to apply that amazing makeup?   I saw the production twice (I had a little granddaughter visiting from Berlin on the Saturday). Paul Prebble and Andy Roe (Thursday) were a great partnership, obviously having a ball, superb timing throughout, a really, really funny pairing. Then on Saturday poor Andy was indisposed – Director’s nightmare – but luckily Ben Dray was able to step in at very short notice. And once again, a great pairing, superb timing, obviously having a ball, and really, really funny! Phew! How wonderful to have such a great team to be able to pull this off!

Highlights for my little granddaughter, whose first panto this was, were the antics of Bodgett and Leggett; the wonderful song and dance routines; the relationship between Cinderella and Buttons, and his jolliness despite disappointment; and of course the hilarious alternative ‘Twelve Days of Christmas’ rendition, complete with beach balls and water pistols; and the singalong number of a very rude song!

But not only the children found this to be the best pre-Christmas entertainment possible. Her grumpy grandad, not a panto fan, generally speaking, was delightedly chortling throughout.

Director Denise Hodgkiss worked wonders on this production, the inventive set, superb casting, perfect balance of performances throughout, and brilliant pace and timing. An absolute tour de force!

  

 

 

© NODA CIO. All rights reserved.