CINDERELLA

Tyne Theatre and Opera House

★★★★

“transport yourself to a land of merry magic, music, and magnificent comedy”

Cinderella at the Tyne Theatre and Opera House is the perfect addition to any festive family plans. Directed excellently by Glen Murphy, this hilarious panto brings a sparkle of magic to Newcastle this December.

Ready to go with a gorgeous set and all its classic panto gags; Cinderella just about hits all the beats. Not a moment is wasted to get a chuckle, boo, or “he’s behind you” from the audience, and the flow of the show is quick-paced and engaging. Buttons, played by Charlie Richmond, punctuates every scene he is in with fabulously hilarious one-liners and ad-libs, and keeps the pace of the show chugging on. Moreover, Guy Pascall, Charlie Richmond, and Tom Whalley’s writing is laugh-a-second and knows how to get even the grumpiest of parents to respond with “oh no he didn’t”.

The script does have a reliance on reinforcing quite a traditional fairy-tale message. Although Cinderella makes a point of celebrating meeting someone that values her in her prince, it would also have been positive to have more emphasis on Cinderella’s escape from her toxic sisters, and independence from that environment, rather than her dreams entirely revolving round finding a man to marry. The unnecessary addition of a romantic plot with Buttons does also give some food for thought. I can’t help but wonder how much more enjoyable a purely platonic relationship between Cinderella and Buttons from the get-go might be.

Expectedly straying occasionally from the well-known fairy-tale, the show allows lesser-known characters such as the prince’s footmen (played brilliantly by dance duo Twist and Pulse) to the forefront to really shine. They are truly standout across the show, mesmerising the audience with tirelessly funny and astonishing dancing. Jamie Corner as Prince Canny and Robbie Dee as Baron Hardup round off the cast well. Dee’s slapstick comedy is stupendous, and Corner keeps up the pace with the demanding choreography he performs alongside with Twist and Pulse.

Kerry Blaskett-Wetherall’s choreography is spellbinding and uplifts the talented dancing ability of the ensemble. Overall, the dancing strength of the cast out-shines the vocal punch of the show. However, there are some standout singers. the show’s tremendous leading lady, Scarlett Robinson, impressively displays both her acting and singing talent as Cinderella, creating a truly memorable experience that will leave both kids and adults speechless. The live band also add to the seamless magic of the production, lifting every scene with live sound effects, fourth wall breaks, and moving swiftly between the variety of catchy pop song medleys. Most song choices feel current and give nods to music enjoyed by kids and their parents, including the likes of Backstreet Boys and ABBA, but also KPop Demon Hunters and Wicked. Admittedly, some music feels a tad dated, and the constant medleys do feel somewhat excessive at times. I couldn’t help but feel cheated of hearing longer versions of some song-choices, especially when Robinson sings them so beautifully.

The Ugly Stepsisters, played by Lewis Denny and Micky Cochrane, are everything audiences want panto dames to be. Their scenes are overflowing with quick-wit innuendo and enormous energy, interacting with the audience with close-to-the-bone one-liners. Their matching over-the-top costuming, by David Gibson and Alice Frith, is worth buying a ticket for alone. Equally, Maureen Nolan’s Fairy Godmother adds a lot to her magical performance. Nolan’s highlights include her rendition of her hit ‘I’m In the Mood for Dancing’, where fans of the song and Nolan can enjoy its up-beat fun; perfectly befitting a Prince’s ball! Nolan’s lines and delivery feel a little cheesy as she appears across the show- but isn’t that made for pantomime?

Ideal for the whole family; this is not a show to miss! Head down to Cinderella at the Tyne Theatre and Opera House to transport yourself to a land of merry magic, music, and magnificent comedy.

CINDERELLA

Tyne Theatre and Opera House

Reviewed on 13th December 2025

by Molly Knox

Photography by Limelight Studios

Cinderella

★★★½

“Poulton’s translation teases out the world of comedic opportunities Chekhov’s text offers”

‘The Seagull’ at The Royal Lyceum Edinburgh presents a strong adaptation by Mike Poulton of Chekhov’s acclaimed character-driven drama. Director James Brining delivers a moving and pitiful dive into questions of unrequited love, fulfilment, and fame.

Overall, the acting in this production is really strong and believable. The ensemble have a driven cohesion and complexity to them unfolds as the play progresses- particularly as the last act of the play drives closer to its dramatic conclusion. The supporting cast tie the piece together brilliantly, and are to be commended for their characterisation and emotive presence. Lorn MacDonald is a highly convincing Konstantine; his acting brims with three-dimensional insecurity and need for his mother’s approval and Nina’s love to survive. Harmony Rose-Bremner, playing Nina, also gives a powerhouse performance of depth and unravelling.. Though she is standout in her comedic timing and perfectly narcissistic portrayal of Irina, the boldness of Caroline Quentin’s direction overshadows more serious moments of the play. It feels at times that older female characters, like Irina and Polina, are directed for laughs at the cost of their complexity as characters.

Poulton’s translation, for the most part, seamlessly mediates the original text to a modern Scottish audience. Poulton peppers the text with Scots words like “havering” and “bairn” in steady moderation and does not fall into the trap of overdoing translation into local vocab, yet administers the sleek charm of Scottish words where it is natural and intriguing. The decision to not modernise the setting shows trust in the audience to do the work in deciphering meaning, but the subtle modernising of sentiments and words makes for a clear and accessible performance. There are a few instances where translated language sticks out a bit like a sore thumb – with words like ‘flop’ conveying the sentiment of the original, but coming across perhaps too colloquial for the tone of the piece. However, Poulton’s translation teases out the world of comedic opportunities Chekhov’s text offers, and allows its actors to soar with quick witted timing and ironic commentary on the wider world and the imperfect characters they interact with.

The play’s sound design, unfortunately, stays too in the background to really establish itself in the performance, and musical transitions (though pitch perfect!) lack punch and purpose. Across the length of the play, it is hard not to feel hungry for bolder direction which showcases the multidisciplinary talent of the actors more thoroughly, particularly as there are hints of actor-muso talent dotted throughout.

Above all else, the visual design is deeply impressive. This production of ‘The Seagull’ is shaped by a beautifully cohesive set (by Colin Richmond and Anna Kelsey) and costuming (by Madeleine Boyd) design that brings the pity, power, and envy of Chekhovov’s complex characters to life. Muted tones are punctuated by bright contrasts that allow character’s juxtapositions with one another to burst from the stage. Beautiful set pieces like Constantine’s beautifully tragic mock-theatre, and a stunning dinner table giving nods to rural Scottish estates move seamlessly into new points in time, and make for gorgeous transitions where lighting subtly mesmerises the audience. Lizzie Powell’s lighting haunts the piece with gloom and softness which also creates meaningful contrasts in time, people, and place.

Overflowing with heart, charisma, and unflinching acting performances, this production is a slick showcase of talent.

Tag Archives: Molly Knox

CINDERELLA

★★★★

Tyne Theatre and Opera House

CINDERELLA

Tyne Theatre and Opera House

★★★★

“transport yourself to a land of merry magic, music, and magnificent comedy”