Cinderella – Everyman Theatre

More pop panto than rock ‘n ‘roll with hits performed live by its talented cast. Does well to send out all the right messages but at the sacrifice of its charm through its inflated sense of self-awareness.   

Our tale begins with the sassy Cilla Black of Fairyland, Dame Fairy Godmother (Ben Welch), aka the DFG, who emerges holding a red heart shaped balloon reminiscent of Banksy’s ‘Girl with the Balloon’, the significance of which, new hope and love, is a taste of things to come with this journey of self-love and acceptance.  

Along with successor and apprentice, ‘our Graham’, (comfortably played by natural panto veteran Adam Keast), our matchmaker DFG heads over to the Ooglay’s where they find Ellanora (Grace Venus), whose life resembles that of Cinderella – who here is used purely as a pseudonym, and to whom Ellanora aspires to.  Like Cinders, she is treated terribly by her mean step siblings Dench and Judi, their spoilt selfish escapades captured nicely by Folarin Akinmade and Rebecca Levy. Step – Father Mr Ooglay (Zoe West), cocky and bumbling, attempts an example of masculinity which pulls the familiar toxic short straw, just shy of enough magnitude to take true hold as the story’s evil villain.  We feel sorry for the potential love interest, the childish Prince Charming (Thomas Fabian Parrish) who is pushed into getting married by his overbearing mother The Queen, with a standout performance from Aminita Francis, whose brilliant comic timing, and feisty rendition of ‘Queen of the Night’, is a joy to watch.

Writer Luke Barnes centres the action within the brilliant atmosphere of Ballroom culture, which the narrative alludes to throughout; The Haus of Ooglay, the Vogue Ball, Royal Realness, we are brought into the world of Vogueing with its distinct dance styles, portrayed and attempted with humour by the cast of characters, under the guidance of the Vogue Consultant, Kolade T Ladipo. A missed opportunity here from the Everyman to treat the audience to a cameo perhaps from Ladipo, or another local Vogue dancer to showcase voguing artistry, an ode to its full jaw dropping glory.    

Isla Shaw’s luxurious costume designs are reminiscent of Club Kid fashion. They are spectacular. A catwalk of rich textures, lush colours, quirky, avant-garde designs which have a life unto themselves.  Ellanora’s glittery transformation before she hops onto the carriage is visually stunning and magical, a rare glimpse of a traditional pantomime. This is in contrast to the staging which is outlined by a giant pumpkin frame, for a panto its incredibly bare and uninspiring, but nonetheless practical. The pacing is affected by slight lulls in the action during transitions and the introduction of elements such as the Magical Wheel of Loneliness and the use of walkie talkies is overegged, tipping into some slightly tedious territory.

Characters good and evil, eventually all break free from their societal expectations. From Prince Charming preferring his comics to Ellanora realising that despite feeling ‘weird’ she has everything she needs and unlike Cinderella, doesn’t need the love of anyone but herself.    Any whiff of traditional panto characterisation, and the baddies getting their comeuppance is totally dissolved with a series of apologies from characters for their own misgivings, resulting in an all-round feeling of nonchalance with no fun consequences.

Anyone looking for an evening of traditional pantomime storytelling, will not find it here. Under James Baker’s direction, this is an entertaining production masquerading as a rock ‘n’ roll panto called Cinderella. Making use of panto’s archetypal tried and tested tropes as a vehicle to deliver its messages of acceptance, self-love and self-reflection, which take precedence over the story telling….and it’s just not rock ‘n’ roll. 

Playing until 20th January 2024, https://www.everymanplayhouse.com/

Reviewer: Gill Lewis

Reviewed: 22^nd November 2023

North West End UK Rating: