Oh Yes It Is! Cinderella Casts Its Spell at Richmond Theatre

The heart-warming “secret of Christmas” is to take your children, of whatever age, to a pantomime. It should be treated as a Xmas guilty pleasure. Cinderella at Richmond Theatre is that enchanting evening, which combines classic fairytale magic with lively entertainment for all ages. From the magical moment the curtain rises in this wonderful baroque Edwardian listed theatre, nestled across the picturesque Richmond Park, the production embraces the audience with vibrant nostalgic colours and costumes, catchy tunes, and an infectious sense of fun that keeps even the most jaded grown-up and the addicted, screen-locked teenagers thoroughly engaged. The children, well, they are captivated.

The lead performance as Cinderella by Hope Deane is charming and loveable, conveyed by a knowing wink of real warmth and mischief. She has a vocal presence that elevates the musical numbers. Helen George is an amazingly glamorous Fairy Godmother who brings a sense of Marilyn Monroe rather than Call the Midwife, and is superb. Charlie Stemp is the ultimate Buttons, an actor who owns the stage. His list of shows, from Broadway’s Hello, Dolly! to Half a Sixpence, makes him pantomime gold, and he can belt out a tune. The chemistry between the principal cast brings depth to the story while keeping the familiar fairy tale fresh and engaging.

The stepsisters, in the form of Stephan Guarino and Jack Allen Anderson, are “pantomime near-the-knuckle” fashion, delivering uproarious comedy. Their double entendres, exaggerated antics and knockabout routines get genuine belly laughs throughout the gilded theatre. Prince Charming, in the guise of Tom Major, is new and only just graduated in 2024, stepping straight into Rodney in the West End’s Only Fools and Horses. He is impossibly handsome and, yes, very charming. A star is born.

Last but not least is Basil Brush. What more can be said of this British institution that we have all grown up with? He was superb. Boom Boom.

The production values are impressive. The producers have not skimmed on the sets and costumes. The bright set pieces and colourful costumes create a visually rich world. It reminds me of a hand-drawn Disney cartoon of old. The warm glow of the lights rising on each scene, from the humble kitchen to the glittering ball, bathes you in the memory of childhood. The dance is energetic and frequently produces enthusiastic, spontaneous applause to music that is foot-tapping magic.

One of the show’s strengths is its connection with the audience that crowds in from the hanging private boxes above the stage and gallery. Don’t, unless you want to, break the cardinal mistake of pantomime and sit on the front row. From cheeky call-and-response to topical asides directed at the excited groundlings, the performance is lively and diverse. Children in particular are encouraged to cheer, boo, and immerse themselves in Cinderella.

Though the panto sticks to many of Cinderella’s traditional terms, it does so with heart rather than cliché. The humour remains inclusive, striking a balance between slapstick silliness and clever wordplay, ensuring that grown-ups are as entertained as kids.

Cinderella at Richmond Theatre is a traditional, feel-good production that captures the spirit of the season. Whether you’re a long-time panto fan or looking for a magical theatre experience with the kids, you will leave smiling and humming a tune.

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