SUNDAY, DECEMBER 22, 2024

Cinderella (2024)   Production Photo: Gorgeous Photography

I get a case of uniquely unorthodox uplift when I attend any pantomime penned by Sarah Lyle – she seems to approach a popular Christmas story through a specifically sophisticated prism that throws the foundational doors of a fairy tale wide open for the most idiosyncratic of interpretations. And on this occasion, with Yellow Jumper Productions at Newtownabbey's Theatre At The Mill, Lyle’s concepts and the energy level she maintains as director are tailored rather beautifully, presenting us with Cinderella, a beast of a show that bowls us over in ways both hoped for and surprising.

If Cinderella, featuring Ellen Hasson as the title character, Joe Springhall as the Prince, Cheryl O'Dwyer & Eimear O'Neill as the Step Sisters, Lennin McClure as Cinderella's ally Zip and the appearance of Olivia Nash on screen as a Step Ma, isn't as obviously "outside the box" as her Jack And The Beanstalk was in Ballymena five years ago, it does find other ways to be magical and memorable. The stage, which cleverly reuses David Craig's Belfast Actually set, really comes alive during the early minutes when Hasson's Cinderella sings hip-hop with her "Fairy G" (Eimear O'Neill again), in a way that recalls Sister Act 2's rather good "Joyful, Joyful" but with a greater level of slyness. Soon afterwards we meet Zip, a yellow hatted acrobat who flips (and we are literally awed by McClure's gymnastics), and then come the antics of Step Sisters Pimple (O'Dwyer) and Dimple (O'Neill).

Production Photo: Gorgeous Photography

It's a strong mixture of the inspiring, the hilarious and just enough Charles Perrault from then on, with enough outstanding costumes (well done to designer Louise Conaghan) and dancing (ditto, choreographer Annika Drennan) to keep the audience of all ages on their toes. Puns and catchphrases are laid upon heavily, along with animal noises – I hinted this would be bizarre, didn't I? – and the sight of an enormous beach ball when it's time for the Royal Ball.

But lest you groan too heavily at the word play, the overall spirit of the enterprise carries with it a succession of versatile challenges which equate to substance as well as style. I especially like what O'Dwyer and O'Neill do with the Step Sisters – Pimple and Dimple are suitably repulsive but with recognisably human traits such as overeating, tactlessness, selfishness and a focus on the destination over the journey. And there's much flatulence (don't worry, it's all sound effects) coming from them, which makes sense as they do spout a lot of hot air. Refreshingly, this is countered but not diminished by the charm of Hasson and her Cinderella, whose journey is kind of Dorothy Gale-like in its transition from the meek and naïve to the commanding and wise while retaining the positivity in the personality. It does seem that this Cinderella, ball or no ball, is about finding a way to be and feel at home – where the power can be in the people, the practicalities and the appeal of recognisable humour. An appeal which Cinderella offers, and offers well, among so many other things. It is a communal and artful marvel.

Simon Fallaha

Cinderella runs at the Theatre At The Mill, Newtownabbey, until Monday December 30. For more information, and tickets, click here.