Cinderella

 

Greenbrook Pantomime Society’s Cinderella offered an enjoyable evening of pantomime, delivered with confidence and plenty of humour. I had not seen this version before, and it was a pleasure to watch it unfold with fresh eyes. From the moment the show began, it was clear that a great deal of thought had gone into shaping a lively and engaging production.

Cinderella follows a kind‑hearted young woman living under the thumb of her domineering stepmother and stepsisters. With the help of her Fairy Godmother, she attends the royal ball, captures the prince’s attention, and must flee at midnight before the magic fades, leaving behind a single glass slipper. His search to find its owner leads him back to Cinderella, and the story concludes with her stepping into a brighter future.

Directed by Fiona and Ella Thompson, this production was funny, colourful, and confidently paced. Their direction made excellent use of the set and cloths, moving us seamlessly between the Hardup Hall kitchens, the spooky forest, and the elegance of the palace ballroom. The Ugly Sisters’ boudoir was a particular delight: an explosion of pinks against a gold backcloth, instantly setting the tone for their scenes. The mischievous mouse interfering with their makeup was a lovely touch, the beauticians tackling their grotty feet with a chainsaw, hilarious. The Ugly Sisters’ earlier entrance, storming through the auditorium with their toy dogs to Who Let the Dogs Out, complete with Pee‑Pee and Tinkle “spraying” the audience, had the children howling.

I particularly enjoyed the opening, the Fairy Godmother introducing the story while the scene played out behind her, a strong, confident start. Something About This Night, lead by Olivia Hirst, was beautifully delivered, with lovely harmonies, strong voices, and synchronised choreography that made excellent use of the full ensemble. The choreography throughout was neat, well‑rehearsed, and visually pleasing.

The crossover scene in the woods was another highlight. With characters weaving in and out, everyone getting hopelessly lost, and gags landing from all directions, it had a lively, almost chaotic energy that worked brilliantly. The bear chasing the Ugly Sisters was especially funny and drew a huge reaction from the audience.

Props were well chosen and thoughtfully used, the usual pantomime staples handled with care and attention. The silver carriage set at the rear of the stage looked particularly beautiful, catching the light perfectly and adding a touch of magic to the transformation scenes.

Sound and lighting were handled with precision. The sound was clear throughout, musical cues landed exactly where they needed to, and effects were crisp. Lighting added atmosphere and depth, with scenes washed in blues, cyans, and greens that looked especially striking. Spot work was tight and well‑judged, and the costumes, bright, colourful, and character‑proper, completed the picture.

Helen Ingham brought just the right blend of kindness and quiet strength to Cinderella. She never drifted into damsel territory; instead, she carried a spark that made her engaging and believable. Her facial expressions were particularly lovely, subtle, warm, and always connected to the moment. Ten Minutes Ago, was a real highlight, with clear, expressive vocals and harmonies that blended beautifully with Prince Charming. The cool cyan and blue lighting gave the number a gentle romantic glow.

Kian Sargeson delivered an excellent performance, confident, engaging, and vocally strong. He handled the role with an ease and natural swagger that suited the prince perfectly, without tipping into caricature. His duet with Dandini, Agony, was a comic standout, both dramatically professing their love for “their girl” with exaggerated anguish.

The audience clearly adored Elliot Griffiths as Buttons. He struck a lovely balance of love‑lorn charm and cheeky mischief, with slapstick that was well‑timed and never overdone. He handled his large amount of dialogue with natural humour, and This One’s for the Dreamers was beautiful, his vocals holding the audience in rapt silence.

Olivia Hirst as Dandini was lively, funny, and full of character. Her scene, taking over as Prince Charming was a delight, puffed‑up with importance and leaning fully into the comedy. She brought a playful rivalry to her scenes with the prince and bounced off the Ugly Sisters with quick timing.

Michael Dyas playing Baroness Hardup made a striking entrance every time, heralded by a foghorn before descending the kitchen stairs in a fury. He delivered a wonderfully cruel, snide, and sharp‑tongued Baroness, bossing Cinderella, and Buttons around with relish while keeping the comedic edge intact.

Kai Thompson as the Fairy Godmother was a calm, confident narrator, moving the story along with clear delivery. She looked lovely in her sparkling jacket and trousers, and her accent work in the old‑lady disguise scene added a fun twist. A steady, assured performance.

Beryl & Cheryl, the Ugly Sisters played Martyn Green, and Nathan Prendergast were an excellent comedy duo, nasty, rude, and gloriously over‑the‑top. Their one‑liners landed well, and their cheeky flirting with the men in the audience stayed on the right side of the line for younger viewers. They committed fully to the characters’ outrageous personalities, delivering big laughs throughout.

Lily Dickens as Major Domo, gave a confident first appearance as a principal after stepping up from the youth section. Clear dialogue, expressive reactions, and good timing made her scenes land effectively.

The youth section also stepped up, each given individual dialogue and vocal moments that they handled with assurance. Their characterisation was clear, their reactions well‑timed, and their vocals bright and well‑projected. Beauticians, Phoebe, Ebony & Heather were a vibrant trio in the makeover scene. Strong solo lines, lovely harmonies, and a lively dance routine full of humour and character. A great showcase for all three.

Mason and Elliot were a fun pairing, as Palace Security, with the visual contrast between them adding humour. Both handled the comic beats with confidence and good timing.

Harper, as the Mouse was a delightful addition, darting in and out of scenes with playful mischief. Her havoc in the dressing room and tormenting of the Baroness were delivered with expressive reactions and enthusiasm.

The combined adult and junior chorus brought real vibrancy to the production. Their choreography was well‑drilled, their harmonies warm and balanced, and their enthusiasm carried through every number. They supported the principals effectively and added colour and momentum to the larger scenes.

Thank you to the front‑of‑house team for their warm hospitality throughout the evening. It was a pleasure to watch this version of Cinderella, and I look forward to many more productions from Greenbrook Pantomime society in the future.

 

 

 

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