Cinderella

Jack Studio Theatre

Reviewed – 14th December 2018

★★★

“delivers on festive cheer and wholesome family entertainment”

Upon arrival, the corridor to the theatre is packed with an expectant audience, all of adult size barring one. Nonetheless there is a feeling of festive excitement. It seems no matter how suited up and cynical we become, everybody wants a little bit of magic this time of year, and a Christmas Cinderella show seems just the ticket.

Four of the five cast members begin as puppeteers for paper birds and an infant Ella, whilst Bryan Pilkington plays a benevolent and charming father. We’re introduced to Ella first as a crying bundle in a basket, then as a marionette; a clever bit of prop use sees a pair of empty boots being puppeteered about to portray Ella’s adolescence, and finally we are introduced to Molly Byrne as the fully-grown Ella.

Her father’s death is announced by the arrival of step-siblings played by Aimee Louise Bevan and Joel Black, wearing private school uniforms and punishing scowls. Bryan Pilkington transforms effortlessly on stage from kindly father to evil step-mother as he dons a haughty countenance, house coat and matching snood.

The general plot plays out as we expect, with Ella flung in to the role of lowly servant Cinderella, generally being tormented by her new and nasty family. She of course retains a twinkle in her eye and, whilst playing in the forest, she encounters the prince, as played by Charlie Bateman. Here the two bond over a shared avian passion, and Cinderella impresses with her great knowledge of bird calls rather than an innate delicacy and ladylikeness as the classic fairytale would have it, whilst Bateman’s prince is all limbs and enthusiasm, over the sullen and rebellious heir we have come to expect. Instead of glass slippers we have studded Dr. Martens, and instead of the dreaded panto audience participation, we have a pleasantly awkward chat with the prince, trying out his party banter. Most pleasing of all the production choices, though, is Ella’s stepbrother who, rather than conforming to the two-dimensional spoilt brat trope, shows some character nuance, developing a kinship with Ella and gaining her trust as a confidante. Black plays both nasty and nice equally convincingly, and though he’s let down a little by his singing, he pulls off the part very well.

Whilst it’s near impossible to avoid the syrupy sweetness of the Cinderella fairytale, the slightly bloody ending smacks a little of Roald Dahl’s take on proceedings rather than Walt Disney’s, and we enjoy a fairly ominous minor pastiche of ‘The Birds’ in serving the evil step-mother her just deserts.

Well-timed lighting and sound give the illusion of a much grander set-up than a fifty-seat pub theatre, and on the whole, the production does a lot with a little. There are some ropey vocals, and at times there’s a bit too much acting considering the intimacy of the auditorium, nonetheless, the Jack Studio Theatre delivers on festive cheer and wholesome family entertainment.

Reviewed by Miriam Sallon

Cinderella

Jack Studio Theatre

Last ten shows reviewed at this venue:

The Golden F**king Years | ★★★ | April 2018

The Night Alive | ★★★½ | May 2018

Stepping Out | ★★★ | June 2018

Back to Where | ★★★★ | July 2018

The White Rose | ★★★★ | July 2018

Hobson’s Choice | ★★★★ | September 2018

Radiant Vermin | ★★★★ | November 2018

Sweet Like Chocolate Boy | ★★★★★ | November 2018

Click here to see more of our latest reviews on thespyinthestalls.com

★★★½

“it doesn’t always feel like the comedy is intentional”

Bram Stoker’s ‘Dracula’ is a classic horror text and Arrows & Traps Theatre present a lively and committed production of it just in time for Halloween. For those who don’t know the story, Count Dracula is a vampire who feeds off the blood of the living, a murderer and seducer who has just moved from Transylvania to London. He is pursuing Mina Murray, the fiancé of Jonathan Harker, a solicitor who has recently been to visit the Count and is now plagued with visions of terrible things. As time begins to run out, a small team led by Professor Van Helsing, must fight to stop him.

The set, designed by Francine Huin-Wah, works really well. Set over two levels, the theatre is covered in thick castle stone and hung with ropes. The multiple levels allow lots of scope for use of the staging which Ross McGregor, writer and director of the piece, uses for maximum effect. The interweaving narratives are placed alongside each other so that sinister characters lurk in corners of seemingly innocent scenes, foreshadowing what is to come.

The cast is consistently strong. Lucy Ioannou as Lucy, and Beatrice Vincent who plays Mina, are a strong and lively duo. Cornelia Baumann’s Renfield is both terrifying and moving in her performance. Christopher Tester’s Dracula is wonderfully classic, sexual and camp, dressed in the long black robes of the night.

The production does seem occasionally confused – part comic, farcical almost, part genuine horror. A particularly jarring moment of this involves a cover of ‘Toxic’ by Britney Spears. Jump scares are followed by comic moments then another jump scare, and it doesn’t always feel like the comedy is intentional. There is a tendency at points towards melodrama but in this context the result is rather a fun one.

This is undoubtedly an entertaining and engaging evening delivered by committed and genuine performances.

Reviewed by Amelia Brown

Photography by Davor Tovarlaza

Jack Studio Theatre

Reviewed – 14th December 2018

★★★

“delivers on festive cheer and wholesome family entertainment”

Reviewed by Miriam Sallon

Cinderella

Jack Studio Theatre

Last ten shows reviewed at this venue:

Dracula

Jack Studio Theatre

Reviewed – 11th October 2018

★★★½

“it doesn’t always feel like the comedy is intentional”

This is undoubtedly an entertaining and engaging evening delivered by committed and genuine performances.

Reviewed by Amelia Brown

Photography by Davor Tovarlaza

Dracula

Jack Studio Theatre until 27th October

Previously reviewed at this venue: