CINDERELLA

Cambridge Arts Theatre

★★★★★

“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 | ★★★★ | October 2024

THE HISTORY BOYS | ★★★★ | October 2024

REBUS: A GAME CALLED MALICE | ★★★ | September 2024

CLUEDO 2: THE NEXT CHAPTER | ★★ | March 2024

MOTHER GOOSE | ★★★★ | December 2023

FAITH HEALER | ★★★ | October 2023

A VOYAGE AROUND MY FATHER | ★★★ | October 2023

FRANKENSTEIN | ★★★★ | October 2023

THE SHAWSHANK REDEMPTION | ★★★ | March 2023

THE HOMECOMING | ★★★★★ | April 2022

Cinderella

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★★★

“It won’t rock the boat too much as it drifts along on its stream of witty dialogue pleasantly enough”

Published in 1889, Jerome K. Jerome’s “Three Men in a Boat” was initially intended to be a serious travel guide, with snippets of local history thrown in. But unwittingly, the author’s natural flair for comedy took over the narrative and Jerome found himself with an instant best seller on his hands. Since then, it has never been out of print and, even if not everybody has read it, most people are familiar with its title. It is simultaneously dated yet, quite rightly, resists being placed in a contemporary context. Instead, his style and influence can be seen in modern-day equivalents such as Bill Bryson, or more specifically Pete McCarthy. And even Tim Dowling owes his self-deprecating gift for focusing on the commonplace in part to Jerome.

Nothing much happens at all in “Three Men in a Boat”. That is much of its beauty, so to translate that onto the stage is going to be a tall order. Clive Francis’ adaptation moves it forward in time to the eve of World War I, although we only get a glimpse of this representation – albeit a powerful one – towards the end. The preceding couple of hours is a faithful reproduction of the book which doesn’t always translate into a particularly interesting piece of theatre.

We meet the characters: Jerome (George Watkins), his banker chum George (James Bradshaw) and the eccentric Harris (Sean Rigby) discussing their various, real and imagined ailments; the three actors quickly and neatly establishing the personalities of the odd trio. While none of them can decide quite what they are suffering from, they all agree that it has been brought on by overwork. A change of scene is what is needed. Sean Cavanagh’s authentically detailed set provides this by cleverly opening up from its Edwardian Kensington apartment into a nostalgic backdrop of the Thames riverbank. The three friends then cram themselves into a boat that is far too small for comfort (especially for the week-long cruise they are embarking on). It’s a good job their canine companion is imagined – its presence represented by sound alone.

We also meet some interesting and colourful characters along the way (lockkeepers, country-bumpkins, pub-locals, boastful fishermen), all played in turn by the three men in the boat. The technique allows for touches of farcical humour, and thanks to the performers’ versatility and swift shapeshifting, we are never confused. Director Joe Harmston relies on the device too much, however, diluting the dramatic impact. The narrative works best when the three men are just being themselves, and we are afforded personal access to their close-knit camaraderie. Yes, tempers occasionally fray but Watkins, Bradshaw and Rigby never let us forget the deep-rooted sense of loyalty and companionship that true friendship offers. The second act strongly reinforces that underlying message.

“To friendship and loyalty” they toast in the final moments. The tone shifts into a minor key as the hum of warplanes drifts from the horizon. It is a fleeting and poignant footnote. But overall, “Three Men in a Boat” is as comforting as a gently meandering tributary. It won’t rock the boat too much as it drifts along on its stream of witty dialogue pleasantly enough. Some of us might need something more challenging, but we all need every now and then the refreshing and easy-going escapism that this show has to offer. And the Mill at Sonning is the perfect setting for it. As Jerome K. Jerome writes in the book; ‘… it is the most fairy-like little nook on the whole river… more like a stage village’. You won’t be swept away, but it’s definitely worth getting on board.

CINDERELLA

Cambridge Arts Theatre

★★★★★

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

CINDERELLA at Cambridge Arts Theatre

Reviewed on 3rd December 2024

by Phillip Money

Photography by Richard Hubert Smith

Previously reviewed at this venue:

Cinderella

Cinderella

THREE MEN IN A BOAT at The Mill at Sonning

★★★

“It won’t rock the boat too much as it drifts along on its stream of witty dialogue pleasantly enough”

THREE MEN IN A BOAT at The Mill at Sonning

Reviewed on 15th June 2024

by Jonathan Evans

Photography by Andreas Lambis

Previously reviewed at this venue:

THREE MEN IN A BOAT

THREE MEN IN A BOAT