Cinderella

Faringdon Dramatic Society has a strong tradition of presenting entertaining community pantomimes, and that it is exactly what they have provided for us this year.  Alan P. Frayn’s script embraces all of the traditional elements of the form, so the usual array of principal boys, unpleasant stepsisters and comic characters took to the stage to encourage plenty of audience participation.  The dialogue was packed with family-friendly jokes and clever word-play, and the creative and technical teams worked wonders in what is, after all, a Primary School Hall.

The community aspect was highlighted by the fact that several of the leading characters were played by teenage actors, stepping up from supporting roles in recent pantomimes.  This invaluable experience was evident in that they all understood the peculiar nature of the genre, and were able to apply this knowledge to their characterisations.  Cinderella herself was played with an innocent charm and moved particularly well, while Prince Charming displayed many of the traditional character traits of the principal boy.  The younger performers were surrounded by a number of talented and experienced pantomime veterans, notably in the roles of Cinderella’s stepsisters, the comedy duo, and a personable and engaging Buttons.

The supporting company provided colour and context, from Cinderella’s friends and footmen, to a team of builders and a menagerie of animals.  There was some impressive unison singing, most notably in the Finale, and some energetic choreography, particularly in the opening number when everybody had their heads up and looked as if they were really enjoying themselves.

The set design made good use of the limited resources of the hall, with a raised platform in front of the stage enabling short scenes to be played out in front of the curtains.  On the stage itself, well finished legs were augmented by painted flats for specific scenes, such as the entrance to Hardship Hall, the balustrades in the ballroom, and the fittings in the kitchen, while the lighting design was very effective.  The costumes added a lot to the visual spectacle:  Buttons went full bellhop in his braided suit, while Prince Charming kept it traditional in tunic and boots.  The stepsisters’ frocks were suitably flamboyant, providing the actors with plenty of material to work with.  The highlight, quite properly, was Cinderella’s costume, which transformed onstage from rags to riches, with just a little help (and cover) from her friends.

The band was a great strength of this production.  The songs chosen fitted well into the narrative, and the main themes had been woven together into an overture and entr’acte which added tremendously to the sense of occasion.  The whole show benefited from the performance energy that only live music can provide: the colour and warmth of the woodwind was complemented by the precise piano and guitars, while the drums powered everything along without ever overwhelming the singers or the other musicians.

This was an object lesson in how a talented company and imaginative direction can overcome any limitations imposed by the venue or the budget.  So the pumpkin resolutely remained a pumpkin?  So what.  The audience invested in the characters, laughed at the jokes, yelled “Behind you!” with gusto and did their best to remember where their toes were.  This was a pantomime of which the whole community could be proud – what more could you ask for?

© NODA CIO.  All rights reserved.

© NODA CIO. All rights reserved.