Cinderella

CINDERELLA by Alan P Frayn tells the traditional story of Cinderella, the victim of bullying from her step sisters and step mother but who eventually gets her prince.     In this version, Baron Hardup has married Rubella who he believes has the means to end his financial worries. But she’s in the same boat as he is and the next couple of hours are spent in song and dance, jokes and banter as the traditional story unfolds and concludes with a hilarious shoe-fitting scene and subsequent wedding. 

The sets were mainly decorated backdrops depicting the town, the forest and the hall grounds.    The palace interior added some pillars with flower bowls and sparkly wall decorations.   The props were good and varied in size from Fairy G’s wand to the table that converted to Cinderella’s carriage that took her to the ball, a masterpiece built by John Pibworth.   There was a wheelbarrow, hammer and even an inflated artificial leg!

The costumes were excellent.   Fairy G’s gown was floaty and had exquisite detail including a sequinned bodice and butterfly designs in the net skirt.   Later in the production the skirt was illuminated to great effect.   Cinderella had conventional ragged dress, Prince Charming in traditional boots, smart jacket, sash and tricorn feathered hat while Dandini wore a similar, but slightly less dressy outfit.  The Ugly Sisters had a series of outlandish, very colourful and funny dresses that had frames that exaggerated their size, wigs and outlandish accessories: hats, shoes and bags.   

This was a very funny, well produced and joyful show that was well received by the audience.   There were happy songs that were delivered full of energy and enthusiasm including ‘Best Day of my Life’, ‘Life’s a Happy Song’ and a brilliantly choreographed and well executed rendition of ‘If I were not in panto’ towards the end of the show.    The panto had all the ingredients in bucket loads  and stuck (pretty much) to the traditional story of Cinderella being badly treated by her step sisters but getting her prince in the end.    There were modern and local references, the hapless pair ‘Bodget and Leggitt as well as the audiences’ friend in Buttons who generated audience participation when ‘Bunny in the Box’ was approached.   Grizelda and Gertrude had strong chemistry and great charisma and engaged the audience to great success.    Well done to all involved on the stage, FOH, produciton team and Director, Lesley Nicholls and Choreographer, Claire Lymer,  for putting together a show that was a lovely way to spend a gloomy January afternoon.

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