Cinderella (Newbury – Corn Exchange)

The
gaggle of excited children in the lobby, along with some lovely
decorations and panto accessories donned by grinning staff was
certainly a good start to the warming of my icy Dickensian heart and
as soon as the Fairy Godmother (known as FG) played by Bea
Holland bellowed at a stout, grumpy man in the audience “It’s
time to release your inner fairy!”, I was sold.

FG
welcomes us to the imaginatively named village of Newburybottom and
introduces us to Billy Bumpkin (Matthew Grace taking the role for
the fourth time running in Newbury, so perhaps his performance is
more than a little tired). But there is a real sense of magic and
excitement in the air, which continues through a thoroughly
entertaining first act.

There
are numerous irritating small faults in the performance; some parts
of the writing are dire, some performances are lazy (not just Grace),
and there are a few awkward pauses while actors wait for their
musical cue to enable their “spontaneously” breaking into
song. The show is still in its early days, and some parts feel
clunky. Holland’s entrances are almost always mistimed with a small
pyrotechnic “crack”, and there are some truly awful jokes
and bits of dialogue that don’t work, but this show still manages
to create a fantastic atmosphere, and had me in genuine giggles at
multiple moments.

The
contemporary references thrown in contribute to the best, and the
worst, parts of Phil Willmott’s writing. We
witness momentary mickey-takes of Rizzle Kicks,
Alesha Dixon, Olly Murs and
Bruno Mars which in turn amuse and bemuse the
audience, as do mentions of Essex and Chelsea, Gangnam-style sensation
Psy and Mick Jagger. Music,
both the contemporary and the more traditional, is brilliantly
arranged here by Mark Aspinall (composer for the
Edinburgh Fringe success FRESHER: The Musical),
though occasionally the sound system lets the quality of his work
down.

Performances
are mixed, with highlights from the Ugly Sisters (terribly written
but brilliantly played by Joseph Wicks and
Richard Foster-King), and an incredible version of
“Hot mambo” by Natalia Campbell (though
she is utterly awful in parts). Lowlights include Helena Sowe’s
incredibly dull performance in the title role, although she does look
the part, and sings her section in a random version of
Wicked’s “The Wizard and I” fairly
competently.

The
best performances come from Jack Beatson in
perhaps the smallest part; he shines out as an incredible performer,
and also from the astonishingly funny Stephen Kirwan
as Prince Charming. His timing, stage presence and characterisation
are first-rate, and he is a joy to watch. I also want to marry him,
which is definitely the ideal feeling towards a Prince Charming, and
perhaps implies that my cold heart has been melted.

Ultimately
it’s hard to be completely negative about this production. Yes,
it’s too long and needs some re-writes and tightening, but it’s
ridiculously good fun, and the cast work their socks off. It also has
a nice set, and uses some great theatrical tricks to good effect. The
atmosphere is exciting and alive, which is a fun and refreshing thing
to be part of.

If
you’re after theatrical perfection, you won’t find it in
Cinderella, but if you’re open to experiencing a
fairy dressed as a baguette-salesman leading an ensemble singing a
mash-up of Taylor Swift, the new James Bond theme
and Chim Chiminee to a packed house of happy
children, this is the show for you.