Snowflakes tumble across a freshly snow-drenched stage as Theatr Clwyd unveils its first-ever panto production inside the brand-new Theatr Moondance — a beautifully refurbishment of the old Anthony Hopkins Theatre with new plush seating and glorious legroom. It’s a grand, sparkling space, ideal for a show bringing plenty of festive magical moments to Mold, serving up wonders for audiences of all ages.
What continues to set Theatr Clwyd’s pantomime apart is the depth of panto experience and expertise of its creative team. Writer Christian Patterson, back for his eighth outing, once again fires out rapid-fire gags, cheeky innuendos, and that unmistakable Clwyd charm. Daniel Lloyd returns to direct, pulling together a production that shows off the artistic muscle of everyone involved. And, of course, panto royalty Phylip Harries storms the stage as the incomparable Dame Hettie Hardup — this year’s crown jewel in a seriously strong cast.
This Cinderella doesn’t stray wildly from tradition, but the tweaks it makes open the door for gleeful chaos and full-throttle silliness. Prince Charming, played with real warmth by Elliot Parchment-Morrison, falls head-over-boots for Rhianna Goodwin’s gentle and earnest Cinderella during a chance meeting in the woods. A second encounter at the royal ball seals the deal — and the rest is history.
Back at Hard Up Hall, Cinders battles the daily torment of her ghastly stepsisters, Sam and Ella. Celia Cruwys-Finnigan and Alice McKenna are a deliciously petty, preening duo whose sharp tongues and spicy one-liners more than make up for the absence of a wicked stepmother. In this version, their step-mother is the kind hearted Dame Hettie who invites us into her cosy chaos — along with one unsuspecting lucky audience member who is drafted in as her “Handsome Handful.” We also meet a wonderfully endearing Buttons, played by Robert Wade, whose hopeless devotion to Cinderella earns instant audience affection. And over in the royal household, King Benedict (Joe Butcher), Queen Beatrice (Chioma Uma), and the wildly energetic Dandini (a scene-stealing Steve Simmonds) keep the laughter rolling.
The show’s structure gives every character a moment to shine, and Patterson’s script is peppered with topical nods and cultural winks for all generations. The music — a blend of rock and pop numbers — slots neatly into the story, each song tweaked to fit the moment. Georgina White’s Fairy Godmother guides us through the adventure with enthusiasm, rhyme, and a healthy dose of glitter.
Visually, the production is a feast. The textures, colours, shapes, and clever structural touches all layer together to produce the very essence of a Christmas panto. The opening shadow-puppet sequence sets the tone beautifully and intermittent bubbles, smoke balls and snow gently coats the audience, which makes for an immersive experience. Adrian Gee’s set and costume design is flat-out gorgeous: bold, quirky, stylish, and occasionally tipping into full-on couture. The set moves effortlessly with the story, and the cast of ten actor-musicians keeps the whole thing humming. If anything’s missing, it’s the royal wedding — a chance for one last visual flourish that unfortunately never arrives.
Tickets start at £18, and for that you get a proper, full-blooded pantomime packed with craft, comedy, and Christmas sparkle. It’s everything you’d hope for — and then some.
You can catch Cinderella until 17th January 2026, for tickets visit https://www.theatrclwyd.com/event/cinderella
Reviewer: Gill Lewis
Reviewed: 29th November 2025
North West End UK Rating: