Tag Archives: Chloe Gentles

CINDERELLA

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Cambridge Arts Theatre

CINDERELLA

Cambridge Arts Theatre

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“side-splittingly funny, intelligent and the song and dance numbers are a delight”

Pantomime season is amongst us again and this year in Cambridge it is the turn of Cinderella written by Al Lockhart-Morley and directed by Michael Gattrell. Painted backdrops (Ian Westbrook, set designer) featuring famous Cambridge landmarks leave us in no doubt as to where we are situated. There are a copious number of Cambridge jokes scripted in which get the loudest laughs from the audience. Prince Charming is visiting Trinity College and Cinderella is an environmental studies student in the process of applying for a place at Harvard. In many ways this is not your average pantomime. But as we are often reminded this is Cambridge, after all.

Fairy Goodheart (Julia J Nagle) sets the scene and keep us up with the plot, as well as providing the magic, of course. Nagle is delightful throughout with twinkly eyes and a reassuring smile and we know we are in good hands. A great voice too when it comes to her solo numbers.

Pantomime legend Matt Crosby holds the whole production together. Despite this year discarding his Dame’s skirts for a Buttons’ tunic, his onstage warmth and amiability puts everyone at their ease. He’s funny, possesses great comic timing and, now that we can see his feet, can dance a bit too.

Cinderella (Chloe Gentles) is as delightful as she must be. She is probably also the smartest dressed and most properly spoken Cinderella on stage this year. She did once pick up a broom but the most arduous thing she was otherwise seen to do was to take a group of children to the woods for an eco-friendly ramble. Which gives her the chance to meet the royal prince and his servant, elegantly dressed in purple suits. Jack Wilcox – great voice, great feet – plays Prince Charming much as you might see Hugh Grant take on the role. Alex Bloomer, smiling throughout, plays Dandini as the Prince’s devoted spaniel.

A high standard of clever punning falls into the script for Baron Hardup (Stuart Simons) who commands the stage and pairs well with Buttons. The Wicked Stepsisters (Harry Howle and Steven Roberts) dressed in an array of outstanding and outlandish costumes (Sue Simmerling, costume designer) share sparkling repartee but haven’t yet found their comedy timing or fully exploited the rapport between them.

The production gives us a generous number of excellent song and dance routines (Kevan Allen, choreographer and Dean McDermott, Musical Director), though the song choices are a bit obscure. The ensemble of six dancers are excellent; stunning on the eye, dressed in beautiful costumes and with great moves their scenes are arguably the best of the show. Supported well too in some scenes by a children’s ensemble who are disciplined, smile throughout and give an added something to the larger scenes on the full stage. The act one curtain closer as Cinderella finds her carriage to take her to the ball is a real showstopper of a scene involving twinkling lights (Mike Robertson, lighting designer), and an ingenious stage effect.

Story telling must make way in the second half for birthday shout outs, children up on stage, and audience participatory singing. This year it’s How Much is that Doggie in the Window due to an extraneous bit of subplot shoehorned in to facilitate the now traditional soapy slapstick scene. The slick timing is not quite there yet but the generous audience is in stiches anyway.

Cambridge has pulled out all the stops to provide a thoroughly enjoyable and entertaining evening. There’s all the pantomime elements and audience participation we expect without any shady politics or extreme innuendo. It looks good, sounds good, at times is side-splittingly funny, intelligent and the song and dance numbers are a delight. Go see!


CINDERELLA at Cambridge Arts Theatre

Reviewed on 3rd December 2024

by Phillip Money

Photography by Richard Hubert Smith

 

 


 

 

 

Previously reviewed at this venue:

1984 | β˜…β˜…β˜…β˜… | October 2024
THE HISTORY BOYS | β˜…β˜…β˜…β˜… | October 2024
REBUS: A GAME CALLED MALICE | β˜…β˜…β˜… | September 2024
CLUEDO 2: THE NEXT CHAPTER | β˜…β˜… | March 2024
MOTHER GOOSE | β˜…β˜…β˜…β˜… | December 2023
FAITH HEALER | β˜…β˜…β˜… | October 2023
A VOYAGE AROUND MY FATHER | β˜…β˜…β˜… | October 2023
FRANKENSTEIN | β˜…β˜…β˜…β˜… | October 2023
THE SHAWSHANK REDEMPTION | β˜…β˜…β˜… | March 2023
THE HOMECOMING | β˜…β˜…β˜…β˜…β˜… | April 2022

Cinderella

Cinderella

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C-O-N-T-A-C-T

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Various London Locations

C-o-n-t-a-c-t

C-O-N-T-A-C-T

London – Central

(Various London locations are available)

Reviewed – 4th September 2020

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“feels creatively alive, tender and hopeful; it leaves a lasting artistic shimmer and sprinkles a touch of magic”

 

C-o-n-t-a-c-t is an outdoor immersive promenade production, that takes place on the edge of the river, five minutes from Monument tube (other locations are available). Plugged into headphones, through a previously downloaded app (all very simple, and efficiently handled by the facilitator, who we meet 10 minutes before the production begins), the audience hears the thoughts and conversation of the two characters, one of whom we are instructed to follow.

The concept is a simple one, and reminiscent of Wim Wenders’ masterwork Wings of Desire: a guardian angel is on earth in human form, and he has appeared in order to help a young, lost and grieving woman get over the death of her father. Written by Eric Chantelauze, it is a delicate 50 minute reflection on grief. In Quentin Bruno’s English adaptation, the writing is predominantly colloquial and straightforward, with occasional excursions into a slightly more meditative realm, and for the most part works well, though an unfortunate last minute detour into Latin does feel hackneyed and unnecessary. Max Gold, as the angel Raphael, fails to convince in this instance, and the grandeur of the language reduces, rather than enhances, his angelic aura.

This was a rare jarring moment however. Samuel SenΓ© (director and creator of the original production, along with Gabrielle Jourdain) has put some lovely subtle movement sequences in place within the characters’ walk together, and there are many moments of gentle beauty, particularly in Laura White’s performance as Sarah, which seamlessly embodies Aoife Kennan’s spoken narrative. The atmosphere is also hugely enhanced by Cyril Barbessol’s contemplative, melodic piano, which is a continuous musical thread throughout the piece, and works brilliantly under a London sky and against the grand, ceaseless flow of the Thames.

In these strange and pretty desperate times for live theatre, C-o-n-t-a-c-t feels creatively alive, tender and hopeful; it leaves a lasting artistic shimmer and sprinkles a touch of magic on a September evening. Highly recommended.

 

Reviewed by Rebecca Crankshaw

Photography by Pamela Raith

 


C-O-N-T-A-C-T

Various London locations until 4th October seeΒ www.contactshow.co.uk for full details

 

Previously reviewed this year by Rebecca:
Dadderrs | β˜…β˜…β˜… | The Yard Theatre | January 2020
In A Way So Brutal | β˜…β˜…β˜…β˜… | The Yard Theatre | January 2020
Santi & Naz | β˜…β˜…β˜… | The Vaults | January 2020
The Maids | β˜… | Hen & Chickens Theatre | January 2020
Tom Brown’s Schooldays | β˜…β˜… | Union Theatre | January 2020
Ghost Stories | β˜…β˜…β˜… | Theatre Royal Brighton | February 2020
Since U Been Gone | β˜…β˜…β˜…β˜… | The Vaults | February 2020
The Fourth Country | β˜…β˜…β˜…β˜…β˜… | The Vaults | February 2020
The Tin Drum | β˜…β˜…β˜…β˜… | The Coronet Theatre | February 2020
Henry V | β˜…β˜…β˜…β˜… | The Barn Theatre | March 2020
Superman | β˜…β˜…β˜…Β½ | The Vaults | March 2020
Fanny & Stella | β˜…β˜…β˜…β˜… | The Garden Theatre | August 2020

 

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