Cinderella

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Cinderella

Tobacco Factory, Bristol (Wed 7 Dec-Sun 15 Jan)

THEATRE The family Christmas show at Tobacco Factory is by now a well-established and hotly anticipated ticket in Venueland, a seasonal romp that not only pulls in diverse and highly appreciative ‘community’ audiences, but also provides vital income that helps to float TF’s boat all year round. Equally vitally, TF Christmas shows made in continuing collaboration with Travelling Light stand guarantee for quality work devoid of the cynicism, glitz and TV-linked sleb watching that are now common fodder at this time of year. The winning formula of a great night out for the family at a reasonable price, delivered with integrity, imagination and plenty of magical moments has resulted in a string of polished hits from the TF/TL combo.

And this year’s ‘Cinderella’ is no exception. First off, this reviewer hasn’t seen a TF audience go quite this ballistic for a show since 2005's ‘Robin Hood’ – this time round it’s almost as much fun watching the glee levels of the audience, particularly the kids, as it is watching the actual show. And because ‘Cinderella’ is cunningly done in the round, the audience has a 360 degree view of itself as well as the stage. The second half is a riot, both sides of the fourth wall.

Eschewing Perrault’s ‘Little Glass Slipper’ – the source of Disney’s ubiquitous 1950 animation and countless panto-style spin-offs thereafter – this production draws its inspiration and detail from the darkling-woodsy Grimm version ‘Aschenputtel’, but more in the spirit than the letter. Out go Fairy Godmother, princely sidekick Dandini/Buttons, the pumpkin coach, the glass slipper, the wet victim/heroine and (good riddance!) the hoards of mice butlers, and in come a flock of helpfully telepathic birds, a bespectacled, asthmatic, birdwatching prince (‘Pumpkin’ to his mama), a feisty no-nonsense scrubber and a rhinestone-encrusted sky blue Doc Marten boot, size…hmm… well it looks roomy but there’s only ONE person it actually fits. Out, too, (O Joy!) go all those tedious ‘magical transformation’ moments traditionally accompanied by bangs, twinkles and mushroom clouds of dry ice - stage managers Polly Meech and Rachel Isaacs must have heaved a sigh of relief.

This show has much to recommend it: a soulful, light-footed script by dramaturg/playwright Adam Peck (‘Bonnie & Clyde’, ‘Only’), masses of movement and dance made all the better by having a choreographer (Joêl Daniel) on board, upbeat music from the brilliant Bower brothers, some hilarious cross-dressing (pink net and beards do look so well together), love and romance, and a bit of well-judged comedic gore that passes the trauma test with flying colours. Cast and direction are strong, the central couple are made for each other, and Lucy Tuck quietly steals the show with beautifully nuanced turns as both the sharp-nosed, arsenic-tongued Stepsister and the Queen (could she be distantly related to the Hise of Windsor, we wonder?). Forget hooks and crocs and hasten to the TF for lindy-hops and Docs. You will have a ball. (Rina Vergano)

Kid’s verdict:

“My mum dragged me along - I was worried it was going to be pink and girly but actually it was pretty cool. It was funny and edgy, the music was evocative and they used all the actors really well in different roles." (Kit, 11)

“The birds were really pretty, I liked the way they flew in to help Ella.” (Milly, 8) "

I don’t know why she married that prince. He was a bit of a nerd. I liked her dad best… before he died.” (Franny, 6)

“It was very unusual. My favourite bit was when they broke all the plates in the kitchen – there was lots of crashing!” (Orla, 6)

"I don't know what I liked best – it was all good. And I really liked my ice-cream." (Felix, 4) "And I liked the happy ending." (Bea, 4)