Once again, a joyful, fun-filled panto has arrived at the Cambridge Arts Theatre. This time, Cinderella has rolled into town on her flying pumpkin carriage, bringing magic and sparkle to the dark winter nights.
Al Lockhart-Morley’s script is full of ‘dad jokes’ and one-liners, with some great political jibes (how quickly ‘Suella’ has become a byword for the ‘evil’ character in the world of pantomime is particularly amusing). The groans from the audience at some of the gags felt as though we were at the Christmas table listening to a bad cracker joke.
Nothing can take away from Sue Simmerling’s excellent costume design and Ian Westbrook’s colourful set, both of which create a fairytale land across Cambridge’s Market Square and The Backs of the Colleges. There are frocks galore, and the larger-than-life design really brings warmth and positivity to the performance.
Director Michael Gattrell seems to have used the idea of positivity as a focus this year, perhaps in response to the political and economical doom and gloom being faced by large swathes of the country. This performance is overwhelmingly light and inoffensive, and this feels like a good choice in the present climate.
Perhaps the only ‘darkness’ comes from the Ugly Sisters, Tess, played by Steven Roberts, and Claudia, performed by Harry Howle. This is a terrific drag performance, cutting and full of sass and unapologetically camp. The Shania Twain number, in particular, works brilliantly and is full of energy and fun.
It is also quite comforting to see familiar faces in the cast. Matt Crosby has been the theatre’s resident pantomime dame since 2012, and performed as Gertie Goose in last year’s Mother Goose. Crosby takes on the role of Buttons this year, and the audience warmed to him as the production progressed. The ‘slip and slide’ scene in the beauty parlour is wonderfully choreographed and staged with a strong sense of clowning and physical comedy.
Crosby and our Strictly Dames are well supported by Julia J Nagles’s soft and fluffy Fairy Goodheart, Chloe Gentles’s well studied, academically focused Cinderella (refreshing to see that change to the role) and Jack Wilcox’s arrogant Prince Charming. Both Gentles and Wilcox have a strong musical theatre background, and this is evident in their song performances, which are beautifully delivered. Stuart Simons as a slightly tan-obsessed Baron Hardup also brings a smile to the face, I particularly enjoyed his obliviousness to pretty much everything happening around him.
The sound levels on the evening felt a little out of kilter at some points, though this may be as the show was in the early stages of the run. “The Boys are Back in Town” feels like a battle between instruments and voices, for example, though this is probably easily adjusted.
This did not take away from a very enjoyable evening out in Cambridge. The audience interactions are lovely (even if the obligatory shout-outs do seem to drag a little) and I particularly enjoyed the metatheatrical moment with Buttons attempting to turn a set painted tap on.
For a positive, family-friendly, sparkly and colourful pantomime, you can’t go much wrong with the Cambridge Art’s production of Cinderella this year. Do book now to avoid disappointment; the performance runs to 5 January 2025.
Reviewer: John Johnson