Almost exactly two years since their
last production, 'Hansel and Gretel', New Mills Art Theatre came to life with a
bang via another Alan Frayn pantomime, Cinderella. Bucking the festive trend by
staging their annual pantomime in February has been especially fortuitous this
year, coming days after the government rescinded most of the restrictions
imposed because of the latest surge in covid. This must have helped ensure a
virtually full house with the annual panto at the Art Theatre being something
of institution for the New Mill community.
As with previous works, Frayn had stuck to the traditional pantomime format, both in theme and characters, with some interesting and at times, very imaginative variations. This was perhaps inevitable, given that this was a community production with the large cast having variations in age up to fifty years and the generous stage area used to full advantage with a full complement of around thirty actors and dancers.
‘Cinderella’ has to be one of the best-cast pantos in years at New Mills Theatre.
Alice Bowden had just the right persona
in the title role with Seb Green providing a good balance between playing a
love-struck servant and being the main link between cast and audience. Natalie
Boden and Stewart Boden worked really well as the ugly sisters (could they be
in some way related?) and Lisa Quinn had a certain regal aloofness as the
Prince in contrast to ‘his’ jovial companion Dandini, played by Rebecca
Towner-Yates. Also, Mhairi Jennings had a nice, light touch, playing Fairy G.
Special credit must be paid to some very confident and competent performances
by younger members of the cast, notably Alfie Hall as Leggett who alongside
Isabel Fletcher Shaw, provided a virtual Laurel and Hardy style double act
though out the show.
This was a bright cheerful production, relying to an extent with
colourful backcloths but with enough use of staging to give the effect of full
sets. The Art Theatre’s beautiful Royal boxes were used well as additional
performance areas, often quite unexpectedly, and a good balance was achieved in
creating various convincing scenes whilst providing enough space for
sophisticated dance routines. This was just as well because the choreography
was of a high standard.
As with previous pantos, the songs sung were
taken from various genres and times rather than just relying on contemporary pop
songs. Interestingly, the last panto at the theatre featured a Monty Python song
and the Python’s ‘Liberty Bell’ theme music was used in this production of
Cinderella. A highlight was the castle bedroom scene which took the usual panto
ghost cliché to another level in ways which were funny, sophisticated and
surprising. This was a really refreshing change to the old stalwart of the
ghost scaring cast members off stage by a tap on the shoulder but to say more
would be to give spoilers.
In terms of the ‘traditional elements’ of panto, everything you might
expect was here from the ‘oh yes it is’ routines to an audience sing-a-long,
plenty of weak puns plus a few jokes aimed more at adults. The usual characters
were all present; Cinderella, Buttons, Prince Charming, Dandini and the two
Ugly Sisters. However, there were some interesting twists; one of the sisters
was quite unusually played by a woman and Dandini had a mini-apprentice. The
costuming was excellent, although it took no small amount of suspended
disbelief to imagine that Prince Charming was a man, with the actress in question
wearing zip-up boots, flesh-coloured tights and a very high-cut top!
All the
cast seemed to be enjoying themselves and this was reciprocated by a very
enthusiastic audience. A very enjoyable evening all round.
Reviewer - John Waterhouse
on - 28.1.22
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