★★★★

“Sumptuous, hilarious, sparkling and completely over the top”

The most magical thing about watching Cinderella is that you know the story, the characters and the outcome. It is a universal story of adversity and justice, and the transformative powers of love and kindness. It has been performed, in various adaptations, possibly millions of times around the world. In Britain alone, it is one of the most frequently mounted pantomimes.

Yet, in the hands of a masterly production, you can still be enthralled. In fact, much of the enchantment comes from the fact you DO know what’s going on. So, in the audience, you become collaborator and co-creator, and in some weird way, know that the success of the evening is greatly down to you.

That’s enough theorising – Hackney Empire’s seasonal Cinderella, in the hands of writer Will Brenton and director Clive Rowe, delivers that masterly production. Sumptuous, hilarious, sparkling and completely over the top. Brenton and Rowe are masters. The credits in the programme are too long to even begin a selection, but think productions of The Addams Family and Chicago – Rowe has been involved in these and many more. With such credentials, the evening guaranteed brilliance.

For a start there was a proper band. Led by Wendy Gadian as musical director and arranger, the four musicians managed to sound like a complete orchestra. The music – a mix of classic Christmas and contemporary pop with original material and songs by Steven Edis – yielded sophisticated dance numbers, rousing choruses, some poignant solos and great audience involvement. At one point, a few songsters joined in from the stalls even before the invitation.

Then there was the villain – the wicked stepmother. Gloriously attired in costumes by designer Cleo Pettitt, and prowling about the stage to audience boos, Alexandra Waite-Roberts was, for me, the outstanding act. She is a musical performer of the highest calibre with huge on-stage charisma. Her song number ‘I am going to live till I die’ and a short Bob Fosse-style dance sequence (choreography by Michael Ward) were two of the show’s delights.

But then picking out any performer seems churlish. Kat B and George Heyworth as Flatula and Nausea (the Ugly Sisters) held the show together. Jade Johnson as the Fairy Godmother and Siobhan James as Cinderella were the charmers, while Nicholas McLean, as a cheeky Buttons hopelessly in love with Cinders, gave us a light touch of pathos – as well as being a belting singer.

It was a big ensemble, appropriate for the gorgeous Hackney Empire. Supporting the main cast and ensemble were 25 students from the Vestry School of Dance and Performing Arts. Every one was excellently integrated and a credit to the show.

The final must-mention was the on-stage spectacle delivered by a hugely talented creative, production and technical team with lighting by Tim Mitchell and sound by Richard Bell. The backdrops were all spun with glitter – we got a frost festival, a woodland glade, a castle on a mountain and Hardup Hall, home to Cinderella and her stepsisters. As the first act closes and the fairy godmother sends Cinders to the ball, the technics were all pulled out and a piece of completely awesome stage magic was performed to gasps by the audience. It would be quite wrong to spoil the moment. Go and see for yourself.

Do you need reminding of the story? Cinderella is a classic folk tale (French) of a virtuous working girl extremely down on her luck and being bullied. But her beauty and goodness have been noticed and there is a handsome prince loose in the district – Hackney in the Holly in this case – who is looking for a wife (and to be recognised for himself). So, Hey Presto! Magic brings the two together and all wrongs are righted. In the meantime we have all enjoyed nearly three hours of laughter, sung along to some great music, been awestruck, thrilled and thoroughly satisfied. What better way to open the Christmas season?

LA CAGE AUX FOLLES at Regent’s Park Open Air Theatre

★★★★★

“Stephen Mear’s choreography dazzles and blinds you”

We live in an age where the word ‘gender’ can spark hot debate and a furious character count on people’s twitter (sorry – ‘x’) feed. Indeed, gender discourse has changed greatly since “La Cage Aux Folles” opened on Broadway four decades ago, at the time breaking many barriers by becoming the first Broadway musical centred on a same sex relationship. So much so that Tim Sheader’s current staging lays itself open to accusations of being dated. And yet, the production rebuffs all of that and rises way above it. There is no question of discussion, or of dissecting its relevance and resonance today. It is simply a celebration. One that is bursting with pure joy and spectacle – full of hope and other sentiments that belong to the human heart irrespective of the rhythm it beats to.

From the overture to the finale, we are drawn into the world of these larger-than-life characters. We are told from the off, by the deliciously diverse and garish troupe of ‘Cagelles’, that “what we are is an illusion”. Illusion or not, they are magical. As is every other aspect of this authentic, feel-good show that, deep down, honours old fashioned and revered values of loyalty, family, solidarity and acceptance. It is only in retrospect that this analysis becomes clear – at the time we are just swept along by the warm tide of music and dance.

Set in 1970s St Tropez, it is more ‘Prom, Prom, Prom!’ than French Riviera. Colin Richmond’s eye-catching set captures a fading grandeur that stands proud against the evening backdrop but when you get up close you see the peeling walls and mildew, reflecting the by-gone era and authenticity that refuses to be glossed over. Pan out again and Stephen Mear’s choreography dazzles and blinds you. The ensemble is ever present, watching from the wings; smoking, laughing, winking or yawning. But when they emerge and take centre stage their dance moves are fearless, faultless and simply stunning.

“The laughter and the pathos are continually battling to steal the limelight, but they end up in a glorious double act”

Jerry Herman’s score is at once recognisable and stylishly fresh. The intellect isn’t overburdened, but the passion and romance are loud and clear. As the first act closes, we almost feel like we have reached the grand finale as Albin (Carl Mullaney) delivers a searing, defiant and heartfelt “I Am What I Am”. Rejection has never been portrayed with such authenticity.

Albin’s partner Georges (Billy Carter) hosts the ‘Cage Aux Folles’ nightclub where Albin headlines as his alter ego ‘Zaza’. Along with George’s son Jean-Michel (Ben Culleton) from a brief dalliance with the now absent biological mother, they form the most unconventional conventional family unit imaginable; supplemented by in-house maid/butler Jacob (a show-stealing, mesmerising, gender-fluid Shakeel Kimotho). Loyalties are stretched to breaking point when Jean-Michel announces his engagement to Anne Dindon (Sophie Pourret). Her father is head of the ‘Tradition, Family and Morality Party’, whose goal is to shut down the local drag clubs, of which George’s is the flagship. Albin is persuaded to absent himself for the upcoming visit of Anne’s parents, the consequences of which inform the hilarious and farcical second act.

The laughter and the pathos are continually battling to steal the limelight, but they end up in a glorious double act. The chorus line moves as one, yet each member’s individuality shines through. Although the plotline is a touch on the thin side, it is fleshed out by Harvey Fierstein’s witty script and, of course, Herman’s music and lyrics. But what really brings the house down is the talent on display, the presentation, and the sheer flamboyance of the performances – all of whom deserve mention. There is no roof at the open-air theatre, but by curtain call there wouldn’t have been anyway: the standing ovation raises it way out of sight.

Tag Archives: Alexandra Waite-Roberts

CINDERELLA

★★★★

Hackney Empire

CINDERELLA

Hackney Empire

★★★★

“Sumptuous, hilarious, sparkling and completely over the top”

CINDERELLA

Hackney Empire

Reviewed on 4th December 2025

by Louise Sibley

Photography by Mark Senior

Previously reviewed at this venue:

ROMEO AND JULIET | ★★★★★ | April 2025

DICK WHITTINGTON AND HIS CAT | ★★★★ | December 2024

ALADDIN | ★★★★ | November 2023

Cinderella

Cinderella

Cinderella

La Cage Aux Folles

★★★★★

Regent’s Park Open Air Theatre

LA CAGE AUX FOLLES at Regent’s Park Open Air Theatre

★★★★★

“Stephen Mear’s choreography dazzles and blinds you”

“The laughter and the pathos are continually battling to steal the limelight, but they end up in a glorious double act”