29/11/25

Royal Lyceum Theatre, Edinburgh

Look, I love a good panto as much as the next drama queen. Still, I have to admit there is something very special about this chance to see a Christmassy rendition of one of the world’s most famous fairy-tales without the distraction of all the boo-hiss-he’s-behind-you-wink-wink-nod-nod stuff. Cinderella‘s plucky orphan narrative is a compelling one, not least because of its moral certainty, where the good are rewarded and the bad are well and truly punished: there’s vengeance at play here, as well as virtue. And, in this version by Sally Cookson, Adam Peck and the Original Company, that dichotomy is writ large.

Ella (Olivia Hemmati) lives in a gloriously-realised enchanted forest, all dappled sunlight and multi-coloured birds. The home she shares with her dad (Richard Conlon) is one of those idyllic, romantically-ramshackle cottages where poor people live in story books, and she’s happy there. But when Father marries Mother (Nicole Cooper), everything changes: not only does her step-mum impose a whole raft of irritating rules, she also brings along her own two children, Sister (Christina Gordon) and Brother (Matthew Forbes), who are so priggish and uptight that Ella can’t stand them. And then, just as she’s getting used to the new regime, Father dies, leaving a grieving Ella at Mother’s mercy…

The strength of this show lies in its aesthetic: Francis O’Connor’s set and costume design evoke an ethereal other-worldliness, where magic feels eminently possible. The bird puppets (directed by Forbes and manned by Leo Shak, Stephanie Cremona and the cast) are fabulous, their rainbow plumes as appealing as they are fantastical. Even as a middle-aged woman, I’m completely captivated; how alluring must this staging be for the children in the audience?

The love story element is underplayed: Prince (Sam Stopford) is a nerdy teenage ornithologist and he and Ella strike up such a lovely, convincing friendship that the idea of their marriage seems jarring and incongruous. Director Jemima Levick wisely eschews any overt wedding pageantry, but I do wonder if it would be better to remove the romance entirely, focusing instead on the simple affection between the pair. After all, it’s not as if there’s the same financial imperative for this Ella, who seems to be living in a whimsical approximation of the contemporary world, as there was for her Grimm progenitor, who needed a husband to escape her servitude.

Cooper is obviously having a whale of a time as the odious Mother, camping up her tantrums and cruelty to create a deliciously-devilish interpretation of the character. The protracted toe-chopping sequence – the production’s only real nod to the folk story’s dark heart – is a gruesome highlight. Meanwhile, Gordon and Forbes’ Ugly Siblings are more sympathetic and nuanced than their traditional counterparts, frightened and corrupted by their toxic mum – and clearly redeemable. Carly Anderson has less to do as Queen, who appears here as a slightly-sozzled, benignly-bemused socialite. It’s an interesting take on the role but she is under-used.

Jon Beales’ music and Emily Jane Boyle’s choreography complement each other perfectly, enhancing the story and ensuring the pace never flags.

All in all, this is a delightful production, and one that is sure to enthral audiences of all ages this festive season.

4.2 stars

Susan Singfield