Cinderella pantomime at Hackney Empire – review

After a few years struggling to live up to its benchmark-setting reputation, it’s a pleasure to report that the Hackney Empire panto is back to its best this year in a production that combines nearly all the ingredients we’ve come to love from this east London institution.

I say nearly because one of them is notably absent, namely long-serving dame Clive Rowe, who sticks to directing duties this time around. But he’s ably replaced by fellow Hackney stalwart Kat B alongside George Heyworth as ugly sisters Flatula and Nausea (pronounced to rhyme with “Zendeya”), who prove more than up to the task.

Their mother Oblivia is an enjoyably vampish Alexandra Waite-Roberts, scheming to marry off her daughters to the reluctant local Prince (Luke Latchman), who just wants to be free to be his skater boi self. And of course the real object of his affections is the goodly Cinderella (Siobhan James), who flees his hastily arranged Snow Ball when the clock strikes midnight.

Writer Will Brenton throws in a few plot twists to keep things fresh, including a dash of Prince and the Pauper role-swapping when the royal trades places with his valet Dandini (Chrissie Bhima). There’s also a nice reveal at the end involving the latter’s relationship with long-suffering Buttons (Nicholas McLean), whose affections for Cinderella are undermined by her insistence on calling him mate.

Rowe specialises in big numbers and there are plenty to enjoy here, including a show-stopping “All I Want for Christmas” from the honey-voiced James (surprisingly, the first time I’ve heard this ubiquitous festive banger in a panto). Although a few of Steven Edis’ original songs prove comparably forgettable, they do provide some useful exposition and ensure everyone gets their moment in the spotlight (none more so than Waite-Roberts, channelling her inner Liza Minelli).

It all plays out on a suitably sparkling set matched by the flamboyant costumes from Cleo Pettitt (special mention to the stepsisters’ snow globe ball gowns), while the massive carriage and horse that take our hero to the ball get a deserved pre-interval ovation. Throw in a sprinkling of topical gags, some smart choreography (from Michael Ward), a decent slop routine and a cameo from Santa, and this is one Cinderella that truly stands out from the crowd this Christmas.