Pantomime is one of those great British traditions which shows no sign of diminishing in popularity. It is perhaps that because of these factors, coupled with the fact there are only seven or so base stories in the genre, that a pantomime is often very predictable, right down to the jokes and stock scenes such as the routine of the ghost tapping on the shoulder and so on, ad nauseum. It is therefore extremely refreshing to see a panto where both the writer and the production team have thought a bit outside the box. ‘Cinderella’ at Shakespeare North Playhouse was such a show.
Shakespeare North’s production had all the colour and vibrancy of a traditional panto but was presented in a modern format with all five actors each playing multiple roles (even Cinderella had an Alta ego as a theatre usher!) and props variously brought in, dropped from the ceiling or appearing out of the floor. It is rare for a pantomime to be performed in the round (to best of my knowledge the Royal Exchange has never done one!) which is a shame because it is a wonderful way of introducing young people to the immersive possibilities of theatre. This production showed what can be done with modern technical innovations to make the theatre experience dynamic and vibrant.
By dispensing with the usual set-piece routines, ‘Cinderella’ was able to maintain a fast and consistent pace from start to finish with no section feeling over-long as cast members kept re-appearing in different guises. The songs, which tended to have a 70’s & 80’s theme, were seamlessly woven into the dialogue and were never very long. A particularly noteworthy aspect was that whilst the actual music was pre-recorded, the microphone quality of the live vocals was crystal-clear, with every word sung audible. This made for very smooth transitions in and out of normal speech. Credit must also be given to the way instead of the usual audience sing-along section (typically used as an unimaginative time-filler), this production, in the context of a ball, had the whole audience up from their seats dancing to an amusing routine call the pebble (with helpful illustrative images in the theatre programme!). This was quite something to behold, with everyone clearly wanting to join in the fun.
The costuming showed great originality and was both sumptuous and varied. Cinderella actually wore vibrant orange in contrast to the usual drab colours given to the character and how often do you see a dark-haired Cinders? (any more than you might see a blonde snow white!). It was little details like these that helped give the show a feeling of fresh originality. The basics of the familiar story were told but with interesting twists, showing that the writer Nick Lane had made a conscious effort to appeal to adults as well as children (including a nod in the back-story to the James Stewart Christmas classic ‘It’s a wonderful life’).
Tia Larsen excelled in the title-role, giving a gutsy feel to a Cinderella with a taste for adventure. Emma-Grace Arends gave a mischievous, impish aura to her principal role as an apprentice fairy, coupled with a very physical performance. Thomas Cotran and Elliott Kingsley were a great comedy double-act, swinging between playing good and bad characters and Emma Bispam was well cast as both the chief villain and fairy-in-chief, bringing a dramatic gravitas to each of her roles. This was a very much an ensemble production, in which the cast could be seen to be enjoying themselves in front of a very appreciative and physically-engaged audience.
This ‘Cinderella’ could be described a great pantomime for people who don’t normally like pantomimes; an excellent theatrical experience that worked on different levels and a great night out.
Reviewer - John Waterhouse
On - 25.11.25
No comments:
Post a Comment