Cinderella is emphatically not panto. Director Melly Still and co-writer Ben Power have gone back to the original Grimm tale to create a deliciously dark piece of theatre. The familiar Disneyfied pastels are replaced by a jagged charcoal sketch of a performance full of cold light, deep shadows and bursts of bright colour.
Staging that incorporates live music, physical theatre and puppetry is complemented by an intelligent script that weaves other Grimm tales into the story, creating a narrative that loops and folds back on itself. The cast take multiple roles while effectively storytelling their characters in the third person. As well as some beautifully crafted passages, the piece is suffused with dry wit and absurdity.
Parents might want to note that in this version, true to the original, Cinderella’s sisters hack off parts of their feet in their attempts to get them into the slipper and end up having their eyes pecked out by birds. There’s a sense of humour about the level of OTT gore on stage and it is very funny, but might be a bit much for younger, more sensitive children.
Still has assembled a first-rate ensemble who are fun to watch and, more importantly, look like they’re having fun performing. Elizabeth Chan’s Cinderella has an adorable quality of ingenuous innocence and a smile that positively radiates joy, while Daniel Weyman’s Prince manages the neat trick of appearing disgustingly cocksure and mocking his arrogance simultaneously.
In short, this Cinderella is a vastly entertaining, funny, moving, satisfying piece of theatre that will appeal to children and adults alike.
1 comment
This was truly wonderful, - the music was amazing!
Loved it
Loved it!!