ELLA:CINDER

ELLA:CINDER
Written by Stacey Clements
Date 21 st March 2026
Society Page2Stage
Venue Saltash Wesley Methodist Church, Cornwall

Directed Choreographed by Nicki Ward
Musical Director Kate Chricton
This year’s Page2Stage youth theatre production marked a welcome shift in staging,
with a more traditional layout that opened up a generous performance area. This
change immediately enhanced the visual clarity of the piece and allowed the action
to breathe. The cast’s entrance from the back of the audience was particularly
effective, executed with professionalism and focus, setting a strong tone from the
outset.
Vocally, the ensemble demonstrated confidence and strength throughout. However,
there was a noticeable lack of animation and reactive engagement with the unfolding
narrative. While the singing was commendable, the storytelling would have
benefitted from more expressive physicality and emotional responsiveness. Youth
theatre offers a valuable platform to develop such stagecraft, and greater emphasis
on foundational techniques—such as projection, maintaining open body positions to
the audience, and sustaining character even when exiting—would elevate future
performances. At times, basic rehearsal elements appeared underdeveloped,
including the effective use of tableaux, cross-cutting, and ensuring dialogue
remained audible over background music.
There was a sense that production values may have been prioritised over
performance skills. This was evident in moments where adult stage crew introduced
large set pieces and props, which proved distracting. Involving the young performers
in these transitions could have enriched their theatrical experience and fostered a
broader understanding of production roles. Additionally, due to the flat audience
seating, much of the set went unseen, suggesting that a more minimalistic approach
may have improved the show’s overall fluidity.
Technical inconsistencies unfortunately detracted from the performance. Late music
and microphone cues, alongside instances of microphones being left on offstage,
disrupted the flow. Despite the cast’s punctuality and evident preparation, delays in
striking the set and sound issues undermined their efforts. Such challenges can be
particularly difficult for emerging performers, who may not yet have the experience to
adapt vocally or physically in response to technical shortcomings.

Choreographically, there were some thoughtful choices, though execution
occasionally lacked polish. Dancers were at times encumbered by props, such as
glasses held in active hands, which hindered movement quality. The inclusion of the

Macarena was an inspired and accessible choice; however, it would have benefitted
from tighter rehearsal to bring greater energy and precision.
Performance highlights were plentiful. The Fairy Godmother and Fairy Godfather
sparkled in their silver costumes, delivering their roles with flair, sass, and engaging
animation. Ella’s Mum and Dad, along with the Godparents’ assistants, brought
confidence and clarity to their roles. Ella herself offered a standout performance,
capturing the essence of a modern teenager while confidently tackling challenging
songs and delivering complex monologues with energy and clarity.
Peter’s characterisation was particularly strong, combining expressive facial work
with well-timed comedic delivery. Rosie also impressed with her vibrant stage
presence, and their rapping duet at the ball was a highlight of the evening. The
wicked stepmother was expertly portrayed, demonstrating a clear understanding of
pantomime conventions, commanding the stage with confidence and precision.
Although Mr Tinkles was not always visible to all audience members, the performer
seized their moment on two feet, showcasing both vocal and physical skill. The
Prince and Dougie delivered strong vocals, and the concept of their band, “The
Royal Rebels,” was a creative touch—though further commitment to the physicality
of drumming and air guitar would have amplified the effect.
The modernised script, written by a parent, was a refreshing take on the familiar tale,
bringing contemporary humour and energy. Creative elements such as the inflatable
city bus added charm and provided opportunities for ensemble involvement. The Act
2 opening number, “Don’t Stop Believing,” featured particularly strong vocals, with
two younger performers holding their own alongside more experienced cast
members. The scene between the King and Prince Henry was another standout,
showcasing strong acting and character interplay. Mercedes, one of the stepsisters,
also shone in the final moments, delivering her lines with clarity and confidence.
While pantomime remains a challenging genre to master, this production
demonstrated a commendable willingness to experiment and innovate. With greater
focus on core performance techniques and more refined technical support, future
productions have the potential to be even more impactful.

Finally, special mention must be made of the programme, which was thoughtfully
designed and clearly acknowledged the many contributions of the cast (with
photographs) and crew—an important and appreciated touch.

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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