When transforming fairy tales into panto scripts, writers take a lot of different approaches. Some expand the story, while others condense it and some rearrange the bare bones of the plot and use them as a basis for something new. Some use a framing story, or introduce elements of metatheatre, and often the story is re-set to give it a local relevance, or to set it in a different time period to the original. Others might opt to include a back-story, or to tie up loose ends.
For his new Cinderella at Shakespeare North Playhouse (his third Christmas show written for the venue) Nick Lane has effectively done all of the above, and a little more besides.
The Cinderella story is pretty much all there in the midst of Lane’s fantasy, although some key elements have been tweaked to modernise the traditional notion of a girl’s only aim in life being to marry a rich, handsome prince (but I will try to avoid too many spoilers!) The biggest change is that not only does Lane include the mother of all back-stories, but he adds a lot of extra material surrounding smaller characters, in particular, the Fairy Godmother. The script is also unique in that it makes very direct reference to the fact that the actor playing Cinderella is enjoying her own transformation here. Tia Larsen has worked front-of-house at Shakespeare North since it opened, but she is also an acting graduate from Wigan’s Rose Bruford College, and stepped in as a swing in last year’s Alice in Wonderland. Here she gets her chance to take the title role on the Cockpit stage, and the script is cleverly constructed to reflect this personal story.
The principal Fairy in this version of the tale takes a much bigger part in the narrative. A former tooth fairy, who has only a number and no official name, she has long been hoping to gain promotion to Fairy Godmother. Her exploits helping Cinderella were actually supposed to be her final examination, and as the story begins we find her awaiting judgment from the Chief Fairy. We, the audience, are told to listen to the evidence, and the clock is turned back so that we can see the events as they unfolded.
Emma-Grace Arends is therefore a central part of the action throughout as Fairy 23780, or Mandy as she hopes to be known. She gives a spectacular performance as the fairy as well as depicting a herald and the mother of the prince. Her energy and charm are perfectly matched with that of Larsen, opposite whom she plays out so many scenes in conspiratorial glee.
The whole story, cleverly disguised as a piece being acted out for the benefit of the fairy assessment panel, makes extraordinarily deft use of a cast of only five, all of whom (except Cinderella) play a multitude of roles. This leads to some astonishingly rapid costume changes, and a few nifty bits of writing that explain the absence of certain characters at times when their player is required in ‘other parts’, including roping in members of the audience as stand-ins on occasion.
Emma Bispham therefore appears both as Cinderella’s real mother (who actually features substantially in this retelling) as well as the Chief Fairy and a frog. The only player to act in mostly solo roles, Bispham switches effortlessly between characters as well as between scenes of reflective pathos and utter mayhem. Elliott Kingsley is Cinders’ hapless dad, as well as one of the ugly sisters, a fairy, and more besides, whilst Thomas Cotran is the Prince (a great lover of horses) the other ugly sister, a mouse and another fairy. Kingsley and Cotran consequently also have a great many double-act scenes in different guises, which gives them plenty of opportunity for comedy sparring and word-play together. Both are a joy to watch.
All of this is played out on Chloe Wyn’s masterful set, which makes maximum use of the Cockpit stage. Wyn, like writer Lane, has previous form for working with fully in-the-round spaces, and this pays off in the tremendous versatility of the setting. Her costumes, too, are rich in the sort of detail that stands up to the scrutiny of such a close-up audience, and they are also full of wit.
Director Nicole Behan is on home turf here, and it shines through in the affectionate and often comedic touches of local reference. Carried through on themes of time travel, the show pays homage to Prescot’s proud history of clock-making – something also referenced visibly in the set.
Storytelling is balanced perfectly with humour, audience interaction and music, and whilst many of the contemporary cultural references might go over the heads of anyone over teenage, they certainly make the children in the audience feel that this is a show that belongs to them.
Panto season is only just getting underway, so I feel as though I am in danger of peaking early with a 5 star verdict, but this gloriously funny and cleverly staged show really knows its target and hits a bull’s-eye. It is a beautifully crafted piece that may easily be one of the best shows to have yet been produced on this stage, and it deserves to enjoy packed houses.
Cinderella is at Shakespeare North Playhouse until 10th January, and tickets are available here.
Star Rating 5 stars
Emma-Grace Arends and Tia Larsen - Photo by Patch Dolan 
Members of the cast and the set of Cinderella - Photo by Patch Dolan
This review was originally written for publication by Good News Liverpool
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