CINDERELLA

Hackney Empire

★★★★

“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?

CINDERELLA

Hackney Empire

Reviewed on 4th December 2025

by Louise Sibley

Photography by Mark Senior

Cinderella

Millennials

The Other Palace

Reviewed – 15th July 2022

★★★

“Hannah Benson’s immersive staging bubbles with an energy”

There is, and always has been, debate about the purpose or usefulness of demographic tags. But whether we like them or not, or whether they influence an individual or a group of personalities, the labels are here to stay.

If you are a ‘Millennial’ you witnessed the 9/11 terrorist attacks that shook the world, and were likely to be old enough to comprehend its historical significance. You grew up in the shadow of the wars in Iraq and Afghanistan; you will have watched the erosion of the global political climate. Reaching adulthood, you would have walked headlong into the height of an economic recession. And the internet has pretty much always been there for you.

Is this significant?

If you are a ‘Millennial’ (according to psychologists) you are likely to be confident, but also confused. You are tolerant, but have an overblown sense of entitlement. You are generous, but at the same time narcissistic. In other words, you merely possess the contradictions that make us human.

Elliot Clay has written a song cycle that tells these Millennials’ stories. But he runs up against the same problems. For the most part they come across as merely human stories; under the Millennial banner. And it is a banner that is waved flamboyantly. Colourful yet superficial. There is little that earmarks a Millennial’s ownership of the subject matter. So we are left with a song cycle. And there is nothing wrong with that. Clay has composed some very fine numbers here. But a trick has been missed, and what is slightly frustrating about the show is the awareness that some sort of thread could have been weaved into the overall concept; or something to bind the characters into some sort of collective. To give them a real, solid context or journey.

Fortunately, that reservation in no way extends to the presentation. Hannah Benson’s immersive staging bubbles with an energy that sweeps aside the misgivings and allows us just to have fun. Andrew Exeter’s design matches, and supersedes, the sheer pizzazz. The Other Palace is transformed into a candied, Wonka-like, emporium. Part disco, part adventure playground; shimmering with colours that overflow with e-numbers. You can taste the sweetness of the set.

The performances are the main attraction. Despite most of their energy being channelled into Tinovimbanashe Sibanda’s slick choreography, the cast of six unleash their glorious voices to the crowd with the dynamism and craftmanship befitting the cream of Musical Theatre. Clay’s songs and lyrics are given the starry treatment and they have the appeal to stand their ground, but “Millennials”, as a show, lacks the cohesive ingredients to ensure a similar longevity. But as a gig, it’s a pretty good night out.

Tag Archives: Luke Latchman

CINDERELLA

★★★★

Hackney Empire

CINDERELLA

Hackney Empire

★★★★

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