CINDERELLA at the Festival Theatre

★★★★

“a spectacular night out with family and friends in a familiar venue hosted by our favourite stars”

If it’s glitz, glamour and banter performed by local talent, Edinburgh’s own Cinderella is the panto you’ve been looking for. The Crossroads Production of this much loved Christmas favourite has something for everyone, whether you’re a glamorous gran or a sleepy babe in arms. There won’t be any time for naps or time outs though, because this is a show where everyone gets involved, thanks to the experienced crowd management talents of Allan Stewart (Faerie May), Grant Stott (Baroness Hibernia Fortuna) and Jordan Young (Buttons).

Panto has long been an Edinburgh tradition, even if familiar names and faces retire from time to time. The traditional venue changes from time to time as well. This year’s production is at the Festival Theatre while the Kings Theatre (affectionately known as the Old Lady of Leven Street) undergoes a face lift. This 2024 Cinderella is heavy on tradition too, with familiar jokes about politics at Holyrood, and the state of play at the Hibernian Football Club down the road in Leith. Towns outside Edinburgh are lovingly mocked, but local scandals are also given brief airings, much to the delight of the crowd. In short, this is Panto as it used to be done, with a hefty tribute to music hall traditions, and its variety show talents. This includes some updated songs with the magnificent voices of Cinderella (Amber Sylvia Edwards) and her Prince (Will Callan).

Fabulous. But what about the plot of Cinderella? All the familiar elements are there, including a bit of backstory about how our heroine came to have a horrible stepmother and two ugly stepsisters. Prince Charming is very charming indeed and not above sneaking out of his palace to meet his love in places less stressful than a huge ball with everyone looking on. In this version, an upwardly mobile and career oriented Cinders aims for a job as Royal Advisor to the Prince. There are a number of similar updates, but this is still recognizably Cinderella. But make no mistake: Edinburgh’s Cinderella belongs to Faerie May (aka The Fairy Godmother). If there’s one weakness to all this updating, it’s that the story of Cinders and her Prince is barely sketched in. But given the number of elaborate costume changes that have to take place, it’s not surprising that Faerie May, the villianous Baroness and the ever cheeky Buttons have the lion’s share of time on stage.

But we’re here for a spectacular night out with family and friends in a familiar venue hosted by our favourite stars. And this Cinderella delivers spectacle in spades. There’s Faerie May’s star spangled descent from the rafters at the beginning of the show, and an eye popping end of the first half involving real ponies and a pumpkin carriage. The even more sparkly grand finale does not disappoint— one could attend this production in full ballgown and tiara and not feel overdressed. But it’s the comic talents of Allan Stewart as Faerie May that keep this show down to earth and accessible to all. Whether it’s putting Cinderella at ease, or dealing with a delightful seven year old girl from the audience upstaging him while his back is turned, Stewart shows that panto experience is key, and age is only a number. Grant Stott as Baroness Hibernia owns the stage with his incredible costumes and an attitude to match. And Jordan Young as Buttons pours such energy into his trademark “Hiya Paaaals” that some local business should probably bottle it and make a fortune. All this, and the show still has a Cinderella (Amber Sylvia Edwards) and a Prince Charming (Will Callan) who manage to hold their own despite all the mayhem going on around them. With supporting players Clare Gray and Gail Watson as the Ugly Sisters, and Iain Stuart Robertson as Baron Hardup, Cinderella has a talented and sympathetic ensemble who know exactly how to play to an Edinburgh crowd.

This Cinderella is a show that knows its community, and plays to it well. So if you’re looking for something unique to Edinburgh and its holiday traditions, this Scottish flavoured panto has plenty to please.

CINDERELLA at the Festival Theatre

Reviewed on 26th November 2024

by Dominica Plummer

Photography by Douglas Robertson

More reviews from Dominica:

U-BU-SU-NA | ★★★★★ | THE CORONET THEATRE | November 2024

LYNN FACES | ★★★ | EDINBURGH FESTIVAL FRINGE | August 2024

ASSEMBLY HALL | ★★★★★ | EDINBURGH INTERNATIONAL FESTIVAL | August 2024

THE CROW, (THE PRINCESS), AND THE SCULLERY MAID | ★★ | EDINBURGH FESTIVAL FRINGE | August 2024

OEDIPUS REX | ★★★★★ | EDINBURGH INTERNATIONAL FESTIVAL | August 2024

THE MARRIAGE OF FIGARO | ★★★★ | EDINBURGH INTERNATIONAL FESTIVAL | August 2024

NIGAMON/TUNAI | ★★★★ | EDINBURGH INTERNATIONAL FESTIVAL | August 2024

SUITCASE SHOW | ★★★★★ | EDINBURGH FESTIVAL FRINGE | August 2024

KAFKA’S APE | ★★★★★ | EDINBURGH FESTIVAL FRINGE | August 2024

INSTRUCTIONS | ★★★ | EDINBURGH FESTIVAL FRINGE | August 2024

JULIETA | ★★★★ | EDINBURGH FESTIVAL FRINGE | August 2024

GRUPO CORPO | ★★★★★ | EDINBURGH INTERNATIONAL FESTIVAL | August 2024

Cinderella

Click here to see our Recommended Shows page

★★★★

“the performers put on an impressive show without a moment’s rest”

As the festive season approaches, the time of pantomime comes without holding back. In this production co created by Jermyn Street Theatre and Charles Court Opera, who will be celebrating their 20th anniversary in 2025, we leave all worries (and historical accuracy) outside the entrance doors and enjoy an evening of hilarious covers of popular tunes, disguises and pastries.

In this intimate space, the ensemble bursts with energy and comedic genius as they add a twist in the famous rivalry between the English and the French during Napoleon’s attempt to conquer Europe. On the one side, there is King George (Elliot Broadfoot), the Duke of Wellington (Jennie Jacobs) and Princess Georgina (Amy J Payne) who is disguised as a private in order to fulfil her wish of ending the war. On the other side, there is the infamous Napoleon (Matthew Kellett), standing as tall as he can and savouring the audience’s boos, with Marie Antoinette as his resurrected companion. A legend goes around which says that if one obtains a precious stone in the King’s vault, this person will become undefeated and the only way to open the vault is to use Horatio Nelson’s hand, which Napoleon possesses. Determined to win the war, the English royal party embark on a ship and off they go to destroy Napoleon once and for all.

From Lady Gaga and ABBA to Elton John and Bonnie Tyler, the performers put on an impressive show without a moment’s rest. Merry Holden’s choreography is a fascinating mixture of 80s pop culture and melodramatic inspired moves, performed with perfect synchronisation and gusto. The performers’ voices are highly skilled but also used to heighten the humorous merriment of the piece, with David Eaton’s musical direction subtly, though solidly, accompanying the actors.

There is a clear simulation of a stand up comedy show in the way the sound effects and cheesy punch lines are delivered. At times, not even the actors’ acknowledgement is enough to make the script feel less ridiculous and it is impossible not to roll one’s eyes at the overused jokes and puns. But the actors’ commitment is ardent and the audience is more than happy to sing along, even participate in the games involved onstage. Costumes, (Lucy Fowler) are flamboyant, complimenting marvellously the royal theme and over-the-top tone and Ben Pickersgill’s lighting design does exactly the same by using bright shades of primary colours, as well as sharp spotlights.

Following their previous successful collaboration, last year’s Odyssey: A Heroic Pantomime, it’s safe to say that the electrifying creative chemistry Jermyn Street Theatre and Charles Court Opera delivers what it promises, always finding interesting ways to use well-known stories in an entertaining and inventive fashion. The sparkling direction from Benji Sperring and John Savournin (who also co-wrote the show with David Eaton) lifts the experience to another level. It’s an evening full of musical mischief, baguettes and hearty laughter. This production reminds us why the tradition of pantomimes is such a big part of the festive season, offering entertainment and a sense of release open-handedly to the audience, but also reminding us that life can be ridiculous and wacky, sometimes in the best possible way.

CINDERELLA at the Festival Theatre

★★★★

“a spectacular night out with family and friends in a familiar venue hosted by our favourite stars”

CINDERELLA at the Festival Theatre

Reviewed on 26th November 2024

by Dominica Plummer

Photography by Douglas Robertson

More reviews from Dominica:

Cinderella

Cinderella

NAPOLEON: UN PETIT PANTOMIME at Jermyn Street Theatre

★★★★

“the performers put on an impressive show without a moment’s rest”

NAPOLEON: UN PETIT PANTOMIME at Jermyn Street Theatre

Reviewed on 26th November 2024

by Stephanie Christodoulidou

Photography by Alex Brenner

Previously reviewed at this venue:

NAPOLEON: UN PETIT PANTOMIME

NAPOLEON: UN PETIT PANTOMIME