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Cinderella

Gillian Lynne Theatre

Reviewed – 25th August 2021

★★★★★

“It was a long time coming but it’s a ball”

Andrew Lloyd Webber’s “Cinderella” has been under close scrutiny for some time now. This is in part due to Webber’s vocal stance against the government’s alleged failure to support the Arts during the pandemic. “The government’s actions are forcing theatre and music companies off a cliff as the summer wears on…” he is quoted as saying while rejecting the government’s invitation for “Cinderella” to be singled out as a last-minute part of the Events Research Program. Finally due to open on July 19th, the so-called ‘Freedom Day’, it ran a series of previews before the theatre went dark again for another month. So, long before Cinderella managed to get to the ball, the spotlight was on her every glass-slippered step. It has been a perilous journey, weighed down further by the show unwittingly becoming a litmus test for the recovery of the West End.

Eventually, though, the fairy tale dream comes true. And, in short, it is a true dream. Emerald Fennell’s book turns our concept of the Cinderella myth on its head. For a start Prince Charming has gone awol, presumed dead, and left in his place is the younger brother; Prince Sebastian – as much of a misfit as Cinderella herself. We are in Belleville, the most fairy-tale town that never existed. Carrie Hope Fletcher’s Cinderella is a ragged, rebel Goth in black lipstick. Only when in her company can Sebastian shake off his Royal mantle and truly be himself. To his dismay (and Cinderella’s unspoken concern) his mother has decided to arrange a Royal Wedding for him, purely to boost the town’s reputation. But his heart is set on Cinderella. It is not so much a will-they-won’t-they story, as we kind of know they will in the end. But that doesn’t matter – the story delivers more delightful twists on the way before the final corkscrew that pops the cork, and we can all bathe in the bubbles of joy that wash over us.

It’s a crazy makeover for the familiar story, adorned with David Zippel’s sparkling lyrics and, of course, a score that is well and truly back on form. Filled with a range of emotions and styles it swoons with strings and dips into ballads, taking many other genres under its wing. Leitmotifs and reprises float like feathers which, though intricate, are easily within our grasp and before we know it, we have made them our own. The eyes have as much of a feast as the ears. Gabriela Tylesova’s design, Bruno Poet’s lighting, with JoAnn M. Hunter’s choreography and director Laurence Conner’s staging thrust the show into the sovereign state of spectacle. And although the title suggests an out of season pantomime, this is far from it. The stunning leading cast, whilst enjoying the caricatures written for them, shape them into fully formed, loveable characters. The baddies and goodies alike.

The ugly sisters are beautiful. But marvellously dippy. Georgina Castle and Laura Baldwin play the comedy of the sibling rivalry to perfection. Victoria Hamilton-Barritt’s star turn as the stepmother accentuates the 1980s slang meaning of ‘wicked’. Insanely wonderful and cool she needs no spotlight to let her presence shine across the stage. Rebecca Trehearn’s Queen ransacks the ‘Blackadder’ archives but with so much more nuance and light and shade. Hamilton-Barritt and Trehearn make a dynamic duo, particularly during their show-stopping highlight number, ‘I Know You’ that reveals their seedy pasts in Paris.

The central pair, of course, is Cinderella and Prince Sebastian. Hope Fletcher’s gorgeous, soaring vocals reach the heightened emotions, yet she can slip into character in a beat. The star player, her generosity never pulls focus from her co actors. Sebastian was played sublimely, for this particular performance, by understudy Michael Hamway. His solo show stealing, heart stopping ‘Only You, Lonely You’ drew possibly the longest ovation of the evening. Watch out for the name!

Andrew Lloyd Webber has had his detractors and has often had to weather the storms of his risk taking. Rewriting such a beloved tale such as “Cinderella” is another risk. But boy – it has paid off! It was a long time coming but it’s a ball. Everyone is invited – and everyone should go to it. I’d say be quick about it, but there’s a feeling that this show will be around for quite some time.

Reviewed by Jonathan Evans

Photography by Tristram Kenton

Cinderella

Gillian Lynne Theatre until 13th February 2022

Five star reviews from Jonathan this year:

Bklyn The Musical | ★★★★★ | Online | March 2021

Cruise | ★★★★★ | Duchess Theatre | May 2021

Preludes in Concert | ★★★★★ | Online | May 2021

Bad Days And Odd Nights | ★★★★★ | Greenwich Theatre | June 2021

The Hooley | ★★★★★ | Chiswick House & Gardens | June 2021

Operation Mincemeat | ★★★★★ | Southwark Playhouse | August 2021

Click here to see our most recent reviews

Napoli, Brooklyn

Park Theatre

Reviewed – 17th June 2019

★★★★

“There is violence, despair and a moment of unrealised revelation, and Blair handles it all with a deft understanding”

This story of an Italian American family in nineteen sixties Brooklyn shines a light on the experiences of first and second generation immigrants, and the struggles faced by the women in particular. It is loosely based on writer Meghan Kennedy’s mother’s adolescence and the life of her big Italian Catholic family. Kennedy wants to honour the voices of girls from families like this who, both in the past and currently, have to fight to be heard. Six of the eight actors on stage are female, putting women’s experiences at the centre of the action.

The Muscolino family live in a Brooklyn tenement, and their story is told through a series of almost cinematic scenes that unveil the lives of the family members. The mother, Luda, brilliantly played by Madeleine Worrall, cooks and cares for her husband Nic and three daughters. But her family are not happy, and she is unable to cry. She can’t even talk to God anymore, as her husband has beaten up their daughter Vita, so she talks to an onion instead. Vita, vividly brought to life by Georgia May Foote, does not regret protecting her younger sister Francesca from their father’s rage, which was triggered by her cutting her hair short, and, although she has no wish to be in the convent she’s been sent to, she can appreciate the peace and calm there; a real contrast to her home life. Tina, the eldest, feels guilty that she didn’t stand up to their father and protect her sister. She is caught in a dead end job, denied schooling to help provide for her family, and Mona Goodwin does a lovely job of portraying her low self esteem and doubts. They are all caught in their own narratives, and those narratives are really all about love.

Francesca is in love with her friend Connie, and they are planning to run away to France. They dance to ‘Bee Bop A Lula.’ pretend to smoke cigarettes and look forward to a life where they can be their true selves. Hannah Bristow’s Francesca is feisty, funny, brave and full of the optimism of youth. Laurie Ogden plays Connie with tenderness and gentle determination, as the girls plan their escape.

Connie’s father is Albert, the local butcher and he is in love with Luda, she clearly likes him too, but she is faithful to her husband, even though he is greatly changed from the man she fell in love with. The two men are complete opposites; Stephen Hogan gives Albert a wistful gentleness that beautifully contrasts with Robert Cavanah’s frighteningly violent Nic. Cavanah’s performance has more than a touch of Marlon Brando about it, and the times when we see the man he used to be are unexpectedly touching.

The final character is Celia, played by Gloria Onitiri, a black woman who works with Tina at the factory. She is a happily married woman who loves reading and Onitiri plays her with spirit. The two women become friends, and when Tina asks Celia ‘how does it feel to be loved’ it brought a tear to my eye.

When a dreadful and completely unexpected tragedy strikes the whole area all their lives are turned upside down.

Napoli, Brooklyn is wonderfully directed by Lisa Blair. There are some standout moments, such as the mesmerisingly tender scene when Francesca and Connie gaze into each other’s eyes and mime undressing. There is violence, despair and a moment of unrealised revelation, and Blair handles it all with a deft understanding. The set, designed by Frankie Bradshaw, is atmospheric and gives a great sense of place and time. Johanna Town and Max Pappenhem created the lighting and sound, adding to the sensory impression of the setting, which was occasionally enhanced by the delicious smell of food.

This is a play that has a firm sense of time and place, but deals with themes that are just as relevant today. Beautifully acted and directed, it is definitely one to see.

Gillian Lynne Theatre

Reviewed – 25th August 2021

★★★★★

“It was a long time coming but it’s a ball”

Reviewed by Jonathan Evans

Photography by Tristram Kenton

Cinderella

Gillian Lynne Theatre until 13th February 2022

Five star reviews from Jonathan this year:

Park Theatre

Reviewed – 17th June 2019

★★★★

“There is violence, despair and a moment of unrealised revelation, and Blair handles it all with a deft understanding”

When a dreadful and completely unexpected tragedy strikes the whole area all their lives are turned upside down.

This is a play that has a firm sense of time and place, but deals with themes that are just as relevant today. Beautifully acted and directed, it is definitely one to see.

Reviewed by Katre

Photography by Marc Brenner

Napoli, Brooklyn

Park Theatre until 13th July

Last ten shows reviewed at this venue: