CINDERELLA AT THE ARTS THEATRE
Matt Crosby and young ensemble in Cinderella
What is Panto? In a place where so many citizens come from outside Britain, it is a fair enough question. At its core is a kind of crazy storytelling , a complicated cultural rag bag of song and dance, humour and heartbreak. As a friend remarked as I left for last night’s Cinderella at the Arts
‘Pantomime exists for one reason alone. To make us feel good. ‘
Cinderella at the Arts succeeds in doing just that with a pacy show packed with music and good humour. The story is over a thousand years old – and originates in Ancient China. It has survived the centuries with the same format – rags to riches, lost love found, the hunt for the missing mysterious girl at the ball – with the magic slipper fit, all part of the story. Cinderella is surely the simplest and the best tale of them all – and the first independent pantomime production from the Arts Theatre Cambridge in 1939.
Glamour is the key to this year’s show. The timeless Fairy Godmother created by Julia Nagle is a pitch perfect singer who brings a kind of Hollywood perfection to the timeless role. Backed up by a truly brilliant Ensemble of dancers, the magical escapism was tip-top delightful. The set is entirely in Cambridge, far from the usual fantasy world of ‘yore’, This brings a wry sense of fun to the action. I was delighted to see a leading role for the Market Square currently under threat from re-development. Trinity College as the backdrop of the famous Ball was real life meets make-believe – and a lovely Cinderella Chloe Gentles is the truly warm- hearted girl of legend. Except she never heaves a pot or lifts a broom. This Cinders is an earnest environmentalist at decrepit Hard- Up College where her father, the super-genial Stuart Simons is a dim -witted entrepreneur - his dog -grooming sideline turns out to be central slapstick once the Ugly Sisters take a turn there. ‘ A right pair’, this venomous twosome -Steven Roberts and Harry Howle splurge creative camp talent everywhere and their outrageous outfits do not disappoint – an introductory ‘ Shania Twain “ Man I feel like a Woman’ is slick good fun. Legendary Matt Crosby has abandoned his epic Dame role, and gone over to the sentimental side - quite a loss to the show’s energy but a sweet Buttons this year.
If you have to have real men play the timeless Prince Charming and Dandini instead of thigh – slapping girls in fishnets , then Jack Wilcox and harassed Alex Bloomer do a great job. The Prince , a graduate of Trinity College is wonderfully petulant . Every good scheme poor Dandini produces is processed as the bright spark of his Royal boss. This really does work well as satire and comedy together, a brilliantly delivered series of folies à deux which work out well in the end. An identity switch is always a winner – true character emerges – and improves with the moody Royal tempered by a lack of attention as he has to play the servant for a day. The romance with Cinderella is touching and tender – even if it does take place in ‘Newnham Woods’, where our heroine is fighting to preserve wildlife. Her class of adoring girls are adorable themselves as they form a Maria Von Trapp like fan base in their lovely white smocks and cheeky cheer.
This is the final production from Dave Murphy who now retires as CEO. What we will do without his hand on the tiller as he navigated the ship of creative drama through some of the most astonishing productions of contemporary times. We salute his immense body of work over the past twenty years. Yes pantomimes, but his brilliant bold in-house hits Anything Goes ,My Fair Lady and Guys and Dolls, and his ambitious line -up of national and international stars have never been bettered at the Arts Theatre. He attracted the big names from the West End and Broadway .
Dave Murphy remains, quite simply ,the most bold and creative impresario in Cambridge Arts theatre history.
