Cinderella
★★★★☆ Sparkling
Festival Theatre: Sat 23 Nov – Sun 31 Dec 2024
Review by Hugh Simpson
Cinderella at the Festival Theatre is yet another example of a spectacular family pantomime featuring the familiar talents of Allan Stewart, Grant Stott and Jordan Young.
The continuity of casting helped smooth over the move from the traditional home of what most still call ‘the King’s panto’. It is now clear that there will be at least one more year at the Festival Theatre after this, but the presence of so many familiar faces helps remove any pangs of nostalgia.
Allan Stewart, Grant Stott and Jordan Young in Cinderella 2025. Pic: Douglas Robertson.
The same cast coming back every year (not to mention some of the same jokes) could become stale, of course, so it is to the credit of all concerned that the end result is as bright and sprightly as this.
Allan Stewart’s Aunty May (this time she is Faerie May, the Fairy Godmother) is as fresh and energetic as ever. The combination of daft likeability and occasional waspishness – particularly when dealing with unfortunate audience ‘volunteers’ – is an extremely difficult one to carry off successfully. There are countless comedians who attempt it and just come across as mean-spirited, but that does not happen with Stewart, whose rapport with the audience is only enhanced by the occasional cynical outburst.
elegiac note
There is the odd elegiac note, in particular when a rewrite of Mariah Carey’s omnipresent Christmas song becomes a lament for lost youth, but there still seems to be plenty of life in a performer who astonishingly is about to celebrate the 50th anniversary of his first Scottish panto.
Clare Gray, Grant Stott and Gail Watson in Cinderella 2024. Pic: Douglas Robertson.
Grant Stott, of course, is a mere newcomer in comparison, as this is only his 30th pantomime and 26th in Edinburgh. Baroness Hibernia Fortuna is suitably appalling, dominating the stage, literally demanding to be booed and stuffing in more football references than ever.
Jordan Young is now an established part of the team, and his Buttons is an ideal outlet for his versatility, with all of the aspects of the role – the cheeky friend of the audience, the slapstick, the lovelorn confidant of Cinders – spot on.
appropriate balance
The majority of the running time is given over to these three, but it is noticeable that there is not as much interaction between them as there might be, with more emphasis given to solo spots. This does mean that some of the expected routines, such as tongue-twisters or a big slapstick musical number, are absent. What remains, however, is as brash, loud, innuendo-filled and funny as you would want, with the appropriate balance between new and old gags, and vintage and more recent songs.
Will Callan and Amber Sylvia Edwards in Cinderella 2024. Pic: Douglas Robertson
The script (by Harry Michaels and Stewart, with additional material by Stott and Matt Slack) races through the story. Some of it is perfunctory – the ‘crystal slipper’ once again is never even mentioned until Cinders leaves it behind. However, the balance is about right, although local references (Hibs aside) are in comparatively short supply, with the exception of a truly bizarre and somewhat wonderful rewrite of It’s Raining Men in praise of Fort Kinnaird. The direction of Ed Curtis is exemplary, meaning that the show is extremely well paced throughout.
pleasingly modern twist
The focus on the central performers does mean other elements of the production are at risk of being sidelined. Cinderella (the excellent Amber Sylvia Edwards) and Will Callan’s striking Prince Charming are given enough stage time for their story to play out. Their romance is unusually plausible, and its ending has a pleasingly modern twist.
That said, Clare Gray and Gail Watson’s comic talents are underused as the wicked step-sisters, while Iain Stuart Robertson’s Baron hardly gets any time on stage at all.
Allan Stewart and company in Cinderella 2024. Pic: Douglas Robertson
Visually, the production is an absolute treat. The obligatory flying sequence – from the Twins FX – is particularly impressive, while Ian Westbrook’s sets and the costumes of Teresa Nalton, Mike Coltman and Ron Briggs are very fine. The ensemble, with choreography by Karen Martin, are exceptionally well drilled.
The slickness of it all does mean that audience participation is largely limited to booing and a brief ‘oh yes it is’. Things have come to a pretty pass when you are more likely to encounter the audience singing along in a cinema in 2024 than you are at a pantomime.
There is little danger of that audience feeling short-changed, however, when what is on stage is as warm, funny and riveting as this.
Running time: Two hours and 25 minutes including one interval
Festival Theatre, 13/29 Nicolson St, EH8 9FT
Saturday 23 November – Sunday 31 December 2024
Various times; generally 2.00 pm and 7.00 pm Tues-Sat; 1.00 pm and 5.00 pm Sun
Details and tickets: https://www.capitaltheatres.com/whats-on/all-shows/cinderella/2282
The Walkdown. Gail Watson, Clare Gray, Grant Stott, Allan Stewart, Jordan Young, Will Callan, Amber Sylvia Edwards and Iain Stuart Robertson in Cinderella 2024. Pic: Douglas RobertsonEdinburgh
ENDS
