★★★

“The themes are beautifully dealt with in song”

Moominvalley in November is a musical homage to Tove Jansson’s much loved Moomin family. Most particularly it is based on her final book in which the Moomins themselves never actually appear.

It’s important to say that upfront because if you haven’t actually read this book (as a child I read and adored all the early ones) you – and any children you bring along – are going to be very disappointed not to see even one hippopotamus-like creature on stage. There is a slight exception to this, but that would be giving too much away.

What this piece is actually about is loss, resilience and rediscovery. The book itself, on publication, was hailed as a meditation for all ages (they all are) and “the wisest and most moving book about mourning that I have ever read” (Frank Cottrell Boyce). Bear that in mind as you go and see this.

The story centres around five very different characters – some of whom we have met in Jansson’s other books, such as Snufkin – who find themselves arriving at Moominvalley, just before winter. They arrive simultaneously, all seeking the comfort of the family for different reasons. All are devastated to find the family gone, not to return. Over the course of the next two hours they have to come to terms with this, learn about getting along with each other, and undertake their own transformation.

The choice by Hans Jacob Hoeglund (book, music and lyrics) to turn this tale into a musical, was absolutely the right choice. The themes are beautifully dealt with in song. Not all of them come off, but there are one or two that you will find yourself humming as you leave the theatre. The set (Lu Herbert) is suitably whimsical. Director and choreographer Amanda Noar extracts committed performances from the actors: Jane Quinn, Matthew Heywood, Stuart Simons, Izzie Winter, Martin Callaghan and Abigail Yeo. They are all fine singers and good physical actors; and the pace of the production never lets up.

Yet somehow, for all the energy – and a huge, talented, creative team – it doesn’t quite gel properly and comes over as chaotic. My theatre-going companion, who had no previous knowledge of the Moomin books (hard to believe, but there are some) was bewildered: she had no idea what was going on and found the characters unlovable. That is a serious fault: Jansson always handled oddness with brilliance and empathy. Throughout her books, readers are led to open their hearts to even the most weird and potentially repellent – think Groke, who gets a mention here. Jansson’s writing is celebrated worldwide, not just for its beauty but also because early on she showed the case for tolerance and understanding.

I suspect the team should have paid more attention to the reality that any stage production of a loved book must, ultimately, be able to stand on its own. This is a musical being premiered at Upstairs at the Gatehouse and has great potential. It needs a clearer narrative and tough filtering to warm our hearts and to open up the beautiful story to a new Moomin audience.

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!

MOOMINVALLEY IN NOVEMBER

Upstairs at the Gatehouse

★★★

“The themes are beautifully dealt with in song”

MOOMINVALLEY IN NOVEMBER

Upstairs at the Gatehouse

Reviewed on 28th October 2025

by Louise Sibley

Photography by Simon Jackson

Previously reviewed at this venue:

MOOMINVALLEY

MOOMINVALLEY

MOOMINVALLEY

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

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