Review: Cinderella at York Grand Opera House

By Elizabeth Stanforth-Sharpe

Even before the opening of the curtains, it is clear that UK Production’s Cinderella is a feast for the eyes. The sets and costumes are gorgeous. The town of Stoneybroke and the royal palace look as though they are from one of those richly coloured pop-up-books that were around in the 1960’s, and every costume change – even Cinderella’s rags – is lush and colour-weighted beautifully. In a world where production costs are dwindling rapidly right across the arts, it is an unusual joy to see such an extravagantly styled pantomime.

The ensemble dancers and particularly the junior dancers from Dance Expression School of Dance and Lisa Marie Performing Arts are polished and enthusiastic, and those young people can be very proud of their performances.

Three particular scenes stand out for me. The sparkling coach led by two white ponies evokes an enchanted gasp from everyone in the audience. The transformation of Cinderella’s gown is charmingly done, and the fox hunting is scene is astoundingly beautiful.

But back to the beginning.

There is a poof of pink smoke and Fairy Godmother, played with an unpretentious hint of Hilda Baker by Lisa George, appears to set the scene for the audience and introduce the characters. Wand swinging like a child’s mitten strung through its coat, she is the cheerful, warm beat that keeps the pace of the show going and later proves herself to have an enviable singing tessitura. The rhyming couplets are as they should be but almost glued to the side of the stage and given a prologue that goes on… and on… and on, it’s a shame that she struggles to shine with her full capabilities until nearly halfway through. When she is given the opportunity, magic happens.

Buttons, played by Jimmy Bryant, is the one that really sparks the evening into light. Cheeky, endearing, and desperate to be loved, he has the audience eating out of his hand, his rendition of ‘Uptown Funk’ declaring the panto party open. There is a particularly lovely moment when Bryant calls three children up on to the stage and happens to fall upon a trio of truly talented girls to help out with the audience sing-a-long, “Walking On Sunshine”.

Cinderella, elegantly played by Rachel Grundy, is everything we expect our Cinderellas to be. Beautiful, kind, tender-hearted and good-humoured, and someone we truly want to cheer on.

The same cannot be said for her two new step-sisters. Melody (“it’s pronounced ‘m’lady’ ”), played by Luke Attwood, and Harmony, played by Brandon Nicholson, strut from scene to scene dressed in over the top ensembles with a brittle cruelty to Cinderella and anyone else that they see as beneath them, tempered by a likeable silliness to all others. All they want is a good time. Attwood and Nicholson work well as a team, and are, in their own way, rather loveable.

Cinderella’s father, Baron Hard-up (Karl Moffatt) is described as ‘impulsive’. He is rather naïve and foolish but clearly loves his daughter.

Tobias Turley is the dimmest Prince Charming that ever there was. He may have riches and a palace, but the most irritating horsey laugh and a complete lack of brains come with the territory. His saving grace is his stunning singing voice, but curiously the choice has been made to curtail every number, ensuring that even here he doesn’t glow as he should.

His servant Dandini – Bradley Judge – is dutiful and far more princely than his master.

Here’s the thing. The story of Cinderella should principally focus on the love story between Cinderella and Prince Charming, thwarting the baddies that stand in their way, but here the script choices have been made to throw deliberate greater light on the other characters and to include less helpful additions, not allowing the principals to develop properly.

A pantomime should be a family show. Cinderella is blue. Royal blue. Packed full of unnecessary, oft repeated vulgar innuendos, which may appeal to particular types of family, but will isolate many others. There are inappropriate references to body dysmorphia, loosely packed in a cheap visual gag, and the loudness is overwhelming at times. This is not a show for those sensitive to auditory overstimulation, or young children.

If the prologue is slow, the actual unfolding of the fairy tale goes at break-neck speed, rushing us from a completely unnecessary confused woodland meeting, to pumpkins, mice, balls, and glass slippers without time to pause or lines to land. This is early days in the run, but the niggles should have been sorted by now, and whilst some mishaps provide the funniest entertainment of the evening, the reality is that there were too many, too often.

Cinderella had so much potential. Stunning costumes, sparkle, pizzazz and a cast of talented performers are there. But for me, the choices made by the writers and directors are way off, and I would express extreme caution when deciding whether this is the seasonal treat for your family this year.

Cinderella runs at Grand Opera House York until January 2026