Reviewed by The Magic Hatter
Turkey dinners. The Queen’s speech. Pantomime. Panto is a great British tradition that is very much a part of our annual festivities, an unmissable family treat. This year, we went to The Grand Opera House York to review their annual offering.
Cinderella and the Lost Slipper by Three Bears Productions opened on Friday 14th December. Opera House regular Stuart Wade has hung up his frocks and buttoned-blazers and now works as producer for the company, along with Russ Spencer and Chris Moreno. So have the team, along with director Alan Cohen, captured that Christmas magic?
No stranger to magic is magician Martin Daniels, playing Buttons. It isn’t long before he bounds on to the stage to encourage interaction with an effortless charm. Playful, silly and comfortable in his role, it’s clear that he is from a showbiz family. He instantly engages with the audience, and whilst many of the jokes are worthy of a Christmas cracker, he delivers them with panto panache. Son of the late Paul Daniels, the show has a sprinkling of magic tricks although I would’ve liked to have seen more. Perhaps that’s just the magician in me speaking, but these magical interludes were lapped up by the audience!
Buttons was a clear favourite with my eldest, with shouts of ‘he’s so silly’ and ‘he’s really funny daddy!’ 
Theatrical magic is used in the classic transformation scene, as Cinderella goes from rags to riches and is whisked away by flying horse and carriage. Gasps, ‘oohs and aahs’ accompanied the majestic flight, and Cinderella’s dress-change was slick and polished. Cinderella herself, played by Amy Thompson, is everything a fairytale princess should be. As a downtrodden maid, we feel sorry for her and then she dazzles as Princess Crystal at the ball. The audience were rooting for her to find her Prince Charming; the suitably dapper Jack McGill.
Both Jack as the Prince and Danny Rogers as Dandini have great singing voices, and good chemistry on-stage. A wicked stepmother was noticeably absent, and the Baron (John D Collins) only featured briefly but played the part with a bumbling and fatherly demeanour.
Michelle Heaton adds sparkle and shine as the Fairy Godmother. Formerly of Liberty X, her vocals excel, and she plays up to her Geordie heritage. She seems genuinely excited to be involved and isn’t as sickly sweet as some Fairy Godmothers!
The beauty of Cinderella is that audiences get two dames for the price of one, with the wickedly mean Ugly Sisters. Unfortunately, one half of the dastardly pair – Covonia played by Ken Morley – was ill for press night and couldn’t perform. We expected an understudy in his place but no, Steve Wickenden flew solo as Calpol…
Steve is billed as Britain’s most outrageous dame, and plays the acid-tongued sister with a near-borderline level of innuendo and sass. Each costume more extravagant than the last, he could illicit boos and jeers from the audience and clearly had lots of experience milking the role. A fun and funny performance, and still likeable despite the rough treatment of poor Cinders!
It would’ve been great to see Ken and Steve’s banter on stage, but the cast coped well and of course the show must go on. Former Coronation Street star Ken had already announced this as his last pantomime, and we wish him a fast and full recovery, so that he (she?) can don the outrageous wardrobe again soon.
From the Twelve Days of Christmas, and ghost scene (albeit with an arachnid twist) to water pistols and the obligatory song-sheet, audiences can expect the expected but these traditions are often welcome. This is a pantomime you can join in with, it’s familiar and fun and kept both of our boys (two and five-years-old) engaged throughout. The next generation of panto-goers won’t have seen these classic skits as often as we have and, seen through fresh eyes, they were captivating.
What else can audiences expect? A high-energy troupe of well-choreographed backing dancers, both children and adults. Plenty of audience participation. A song about a certain infant shark and his family (yes, there’s no escaping it!)
Although not particularly inventive or groundbreaking, if you’re looking for all the ingredients of traditional pantomime then the slipper fits. The cast worked their socks off, especially with a man (playing a woman) down. The real magic lies in the unseen script changes and re-jigging, ensuring a smooth near-seamless production. Perhaps a touch long for young children at around two and a half hours, but no doubt this will shorten as the cast find their rhythm and the run goes on.
We were especially surprised as how entranced our two-year-old was, in a show that’s a feast for the senses. Mirror balls, pyrotechnics and glittering scenery add to the overall effect. Other pantomimes may skimp on the story, but the tale is here in full and easy to follow. Young and old alike were up in their seats dancing, and laughing at local references, silly sight gags and even political humour. With sumptuous sets, a talented cast and a generous sprinkling of festive magic, you’ll have a ball!
HATTER’S HINTS
- Bring plenty of change if you want refreshments – ice-creams are £4 each, bottles of water £2.50. There are the usual flashing wands and programmes on sale too.
- Plan ahead with parking, and leave extra time. With the Christmas market on in York, the car parks fill up fast and well into the evening too!
- Small children? You can ask Front of House staff for a booster cushion to help them see. Opera glasses can be hired for £1 too if sat further away.
- Consider the matinee performances for younger children. Although the evening shows usually start at 6.30pm, it can be still be a late night for little ones!
MAGIC RATING 
VALUE FOR MONEY
OVERALL
Cinderella and the Lost Slipper runs until January 5th, and if you really want to plan ahead, tickets are already on sale for the 2019 production of Snow White and the Seven Dwarfs!
Disclaimer: Tickets were provided for the press evening of this performance, however all opinions are honest and are our own.
Review Wizard 