CINDERELLA

SOUNDS MUSICAL THEATRE COMPANY
CINDERELLA By Mark Reid
Performed at The Oreston Centre, Plymouth
As seen by Nina Jarram, NODA SW District 3 Representative on Thursday 27 th
November 2025
Written, Direct and Choreographed by Mark Reid
Musical Direction from Phillip Sampson

The production opened by sweeping the fourth wall aside in true pantomime
tradition, with the Cinderettes bursting onto the stage and immediately establishing
themselves as Cinderella’s confidantes and our narrative guides. Their arrival also
set the cheeky, irreverent tone for the evening, embracing innuendo with an
unabashed confidence that made the audience instantly aware of the genre they
were stepping into. Vocally, the Cinderettes were outstanding. Their harmonies were
rich and assured, their energy unwavering, and their collective charisma lit up the
stage. They became the heartbeat of the show, maintaining drive and momentum
even when the pacing of the script dipped. The actor playing Poppy, in particular,
proved a formidable triple threat, and the natural ease of the ensemble’s chemistry
ensured their scenes were always engaging and fluid.
Despite the limitations of a compact performance space, the renowned vocal
strength of the Sounds company did not disappoint. The Musical Director’s influence
was clear: harmonies were tight, confidently executed, and beautifully balanced with
choreography that was thoughtfully tailored to a range of abilities. This inclusivity
meant performers could commit to character without sacrificing facial expression or
vocal clarity. The ensemble, often the unsung backbone of any pantomime, were
given room to develop individual characters, resulting in a tapestry of distinctive
personalities that brought vitality and texture to every group scene.
The principal cast delivered familiar archetypes from the pantomime canon.
Cinderella was portrayed as the classic ingénue, youthful, fair, and radiating
sincerity—while Buttons’ characterisation leaned less toward the traditional buffoon
and more toward a gently resigned, friend-zoned companion. Though his comic
delivery occasionally felt tentative, his vocal moments were warm and appealing,
and his physical comedy was grounded in well-timed farce.
Projection, however, proved a challenge for some. Several performers lost vocal
dynamics at the ends of lines, with sound fading before reaching the audience. A
notable exception was the actor playing Dandini, who shone with a clear grasp of
pantomime rhythm and style. With a performance reminiscent of Ben Miller’s dry wit,
he balanced thigh-slapping bravado with razor-sharp sarcasm and impeccable
timing. His control over audience focus and the narrative arc was exceptionally
strong.

The Ugly Sisters were a riot of colour, chaos, and commitment. Though slightly
precarious in their towering heels, they embraced the absurdity of their roles
wholeheartedly. A note of caution, however: several lines were lost when upstage
turns and large wigs obscured both sound and facial expression. Ensuring that
dialogue is delivered squarely to the audience will preserve clarity without
diminishing characterisation.
The Wicked Stepmother delivered a visually striking performance, her wig alone
deserved its own spotlight, though her interpretation leaned more glamorous than
menacing. A sharper pace and more overt villainy would have heightened the
contrast with the lighter characters. The Queen, also played with a relaxed air, used
this softness more effectively, especially in scenes with Dandini where her dry
disdain offered delightful comedic contrast.
The Fairy Godmother provided a refreshing shift from the expected Glinda-esque
archetype. Her eccentric, goofy interpretation added warmth and unpredictability,
contributing to the show’s broader sense of playfulness. The Prince, meanwhile,
demonstrated strong musical-theatre credentials but seemed slightly outside his
comfort zone with the rapid-fire spontaneity and improvisational edge essential to
pantomime. Nevertheless, his engagement with the audience, particularly through
distributing invitations to the Ball, created charming interactive moments. The
spontaneous inclusion of audience members seated on “special invitations” added a
joyful layer of surprise, embraced gamely by those selected.
Several full-company numbers enhanced the excitement, most notably the vibrant
rendition of Rainbow Connection, which showcased the Musical Director’s skill and
the cast’s collaborative strength. A standout moment came during the Ball with an
unexpected Meat Loaf number accompanied by a live saxophonist. This departure
from the traditional waltz invigorated the scene and allowed Cinders to prove her
versatility beyond the classic Rodgers and Hammerstein ingénue mould. The
sequence was visually and musically exhilarating, with the ensemble’s individual
character work bringing the stage to life.
The production, though rooted in pantomime tradition, often resembled a polished
musical, owing to its strong script and assured performances. With a company
evidently capable of more, the suggestion for future productions would be to take
greater risks in direction, embracing the full, chaotic potential of pantomime’s
improvisatory spirit.
Costumes were a visual delight, bright, sparkling, and playfully eccentric, contrasting
beautifully with the more traditional attire worn by Dandini, the Prince, Cinderella,
and the Queen. The set design, centred around a storybook whose pages turned to
reveal new scenes, was both elegant and practical, reinforcing the fairy-tale motif
without overwhelming the limited space. The pumpkin-to-carriage transformation was
nothing short of enchanting: a masterful piece of creativity demonstrating that
innovation, not budget, is the true engine of theatrical magic.

In summary, this was a vibrant, wholeheartedly executed community
production—collaborative, inclusive, and filled with opportunities for performers to
shine. It reinforced the truth that the spirit of theatre lies not in its venue but in the
people who bring it to life.

Nina Jarram
PLEASE NOTE: Any observation made by the reviewer can only be based on what he sees at the
performance in question. The reviewer may have received information in advance of the performance
and it is
inevitable that his assessment will be affected by that knowledge.
The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in
particular the performance viewed. It should be remembered that any review of this nature can only
be objective as far as the techniques used during the performance observed. Any criticisms
expressed may not have been valid at other performances, and are only made to encourage higher
standards in Amateur Theatre.
It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and
encouraged you to greater achievements in the future and that the observations made by the reviewer
will prove helpful in improving future productions.

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