Cinderella

My first visit to Swavesey Village College was to attend their annual pantomime, and this year’s production was a specially written piece by the multitalented Stephanie Fearon. She not only authored the script but took on the roles of director, choreographer, set and costume designer, demonstrating an impressive level of hands-on involvement. The story remained rooted in the traditional Cinderella format, but with a clever twist: Ella’s home was reimagined as a struggling farm.

The narrative began with Ella, known as Cinderella in traditional versions, living with her parents on the farm. After her mother, played by Gemma Lyon, passes away, Ella’s father (Andy Howard) remarries and leaves to go to sea, promising to write to young Ella (portrayed by Ellen) and return for her 21st birthday. However, Ella receives nothing, as her wicked stepmother conceals his letters and relegates Ella to the role of a servant, continually bullied by her stepsisters, young Poppy and Primrose (Freya and Betsy). Years later, Prince Edward invites them all to the ball. Upon meeting Ella, he falls in love at first sight, but she disappears at midnight, leaving behind only a shoe and her identity a mystery.

The pantomime was structured in two acts, each containing five scenes. Settings included the area outside the farmhouse, inside the farmhouse itself, the Palace, a scary wood, and the interior of the stepmother’s wardrobe, where Ella is locked away to prevent her from meeting the prince and trying on the lost shoe.

Under the management of Kirsty Pickering, the large stage was mainly played to blacks, with various cut-outs and pieces of furniture used to set the different scenes. The Palace was a standout, depicted by a series of flats across the back wall that created a grand ballroom with ornate windows overlooking the palace grounds. The scary wood scene was particularly inventive, featuring the female chorus—Hannah, Freya, Betsy, Ellen, Gemma Lyon, —dressed as trees with painted boards and head holes. This became the setting for the classic ‘Behind you’ routine, as the main characters searched for the Scary Monster (Caleb Holt) darting among the trees, much to the audience’s delight.

All scenes were expertly lit by Lighting Manager Pete Holt. Unfortunately, there were some technical issues at the sound desk. This was because the sound technician, Simon Munford was taken ill and couldn’t attend the run of the show, and he was the only person who had familiarised himself with the brand-new sound desk. So, on opening night it had to be operated by a crew unfamiliar with its workings. I was told it was however mastered for the rest of the run. We can only wish Simon a speedy recovery.

The music, under the direction of Martin Avery, was well chosen and sequenced, with popular songs and simple yet effective choreography from the director, enhancing the overall energy of the performance.

The cast delivered some lovely performances, led by Francesca Little as Ella, whose expressive sadness captured the audience’s sympathy as she was routinely mistreated by her mother and sisters. The Ugly Sisters—Rachel Isham (Primrose) and Liz Lightfoot (Poppy)—excelled in showcasing both bullying and comedic meanness. Marianne Holt was the archetypal wicked stepmother, tall and slim in a long purple dress with striking black hair, her every glance and expression radiating malice—an outstanding portrayal.

Buttons (Rhiannon Silvanus) and her amusing sidekick Zips (Charis Holt) brought colour and energy, dancing on in multicoloured dungarees and keeping spirits high with their high-five routine.

A highlight was Ian Farr’s Dame Nanny, who charmed the audience with sharp repartee and interactive fun. He even teased the crowd by threatening to reveal the winner of ‘The Traitors’—which was airing on the BBC during the performance—if the audience failed to participate enthusiastically. His quick wit and connection with the audience were clear crowd-pleasers.

On the royal side, Prince Edward was played with charm by Charlie Wilson, an unusual but effective casting choice. The supporting roles were equally strong, with Emma Ginger as Princess Emily, Jo Overton as King Harry, and Stephanie Fearon herself as the Queen. Ashleigh Wilson as the fairy godmother Tulu added a magical touch, sprinkling star dust to set things right.

The younger cast members—Ines, Stanley, and Miriam—enthusiastically embraced their roles as the three mice, demonstrating impressive voice projection for their age.

Congratulations are due to Stephanie Fearon, assistant director Liz Lightfoot, and the entire cast and crew. Despite a few technical issues on opening night (a common challenge in live theatre), the audience’s enthusiasm was undampened. The crowd clapped and cheered throughout, and there was no holding back during the community singing of ‘Hickory, Dickory Dock!’ I was told the rest of the run was equally successful having mastered the new sound desk.

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