Next to nobody goes to the panto for the plot – if anybody does, they very much run the risk of being disappointed. Here, though, there’s a fair amount of storyline crammed into this version of the Cinderella pantomime, which has been brought (or even dragged, geddit?) into the modern era. As far as I could tell, Tom Self’s songs are original material – that is, these were not popular chart tunes reworked with revised lyrics to (sort of) fit proceedings. The benefit of this, it almost goes without saying, is that the songs fit hand-in-glove with what is going on. The show could, I think, have benefited with a little more in the way of call-and-response, and it was more than a bit awkward when, in an early scene, the audience was told, having started an ‘oh no’ reply, that we weren’t doing an ‘oh yes’ and ‘oh no’ exchange just yet. I couldn’t help thinking a more enterprising production might have just gone with it anyway, rather than sticking solidly to the script.
In the same vein, “Back to the plot!” was the terse reply to some ad-libbing after a minor stage malfunction in the second half. Groan. Boo. Hiss. Instagrammia (Dominic Gee-Burch) and TikTokia (Jared Leathwood), were pretty much impossible, at least for me, to tell apart, to their credit: but would the implicit observation that all influencers are as vain and unpleasant as the Ugly Sisters in Cinderella be over-analysing a panto? This version dispenses with a parental figure, leaving the Ugly Sisters to be joint panto dames as well as comic antagonists.
There are local references aplenty to Hornchurch and surrounding environs, with West Ham United Football Club coming under fire for an apparent lack of silverware last season. Even local bus routes were name-dropped. The title character, meanwhile, played by Em Prendergast, regularly deployed British Sign Language – both actor and character are hard of hearing, with the use of BSL derided by the Ugly Sisters as a method by which Cinderella and her good friend Buttons (Lauren Chinery) can communicate against them. Spoiler alert: there’s a kernel of truth to that.
Prince Charming (Elizabeth Rowe, who had, the press night audience was duly informed, learned the part in four days) does everything Prince Charming would be reasonably expected to do – though they are their own assistant in this efficient and economical production that has (as is usual practice at Hornchurch) plenty of actor-musicianship going on. The resulting love triangle between Cinderella, Charming and Buttons was an intriguing development. A quick-fire song naming various confectionary brand names into a convoluted story was amusing. Inês Sampaio’s Fir Tree Godmother stole the show with a highly engaging and lovable presence both on-stage and off – she was even exchanging pleasantries with families in the theatre foyer in the interval.
No custard was wasted, and no chocolate was hurled into the audience – there was, I thought, a bit too much in the way of austerity with no programme available, although perhaps the argument could be made children are more inclined to use digital devices to keep themselves entertained rather than doing crosswords, picture puzzles and other activities still found in family show programmes. Elsewhere, references to social media and technology didn’t seem to quite fit (so to speak) with Charming going around delivering paper invitations to the Grand Ball. Such minor imponderables don’t impinge much on what is, in the end, an enthusiastic, briskly-paced and entertaining seasonal show.
Review by Chris Omaweng
Cinderella dreams of a glamorous life far removed from the everyday grind of primping and preening her vain sisters, and an invitation to the Prince’s royal ball is just the ticket! But the Ugly Sisters have other plans for Cinders, confiscating her ticket to the party of the decade… Fear not, for her Fairy Godmother arrives in the nick of time, ready to weave her magic and transform Cinderella’s fortunes! But can she sashay away from the sensational soirée before the clock strikes midnight and her riches turn back to rags once more…?
CAST
Buttons – Lauren Chinery
Instagrammia – Dominic Gee-Burch
Chorus/Dance Captain – Rhianna Goodwin
Charming – Elizabeth Rowe
TikTokia – Jared Leathwood
Cinderella – Em Prendergast
Fir Tree Godmother – Inês Sampaio
Chorus/Show MD – Luke Thornton
CREATIVE
Writer – Andrew Pollard
Lyricist, Composer and Rehearsal MD – Tom Self
Director – Kate Lovell
Designer – Gemma Compton
Lighting Designer – Peter Small
Sound Designer- Julian Starr
Choreographer – Lucinda Lawrence
CINDERELLA
Queen’s Theatre Hornchurch
22 November 2024 to 4 January 2025
