Cinderella
Philip Wilson
Directed by John Pashley
Chichester Festival Youth Theatre
Star rating: 5
The Cinderella story is over 2000 years old and, in some form, it occurs as a folk tale in many cultures all over the world. It was retold by both Charles Perrault in the seventeenth centry and the brothers Grimm in the nineteenth. Today we are very accustomed to the 1950 Disney version which (loosely) informs most Cinderella pantomimes
It is, therefore, a refreshing change – and a real joy – to see Philip Wilson’s take which modernises the story and takes elements from both Perrault, Grimm and other sources. The result, along with Jason Carr’s music of which more shortly, is a show which packs food for thought and oodles of charm but never descends to cheesiness.
Cinderella (Annalise Bradley on press night – excellent) grows up on a farm with little illuminated hen houses and gorgeous puppeted hens. Overhead are soaring white doves. Then, alas, her beloved mother dies and her bereft father (Dilshad Yilmaz- good) makes a disastrous second marriage and she aquires two nasty stepsisters. In a strong, well directed cast, Tilly Groves, who alternates the role with Charlotte Stubbs, is outstanding as the cold, calculating, authoritarian step mother.
Stephen Tiplady has made a wonderful job of directing the puppetry in this show. Cinderella is advised by a Council of Birds, including a pushy parakeet and a gor-blimey, grab-your-food seagull (very funny indeed). They perch in a hazel tree which sprouts overnight and are her chief supporters when the going gets rough. Genius!
Simon Higlett’s, castellated back wall set is grey stone with an upper floor walkway and a balcony, all rather magically lit up in the second act. for the King’s three day ball at which his reluctant son, the prince, is supposed to choose a bride. A combination of stunning red black and silver costumes (by Abigail Caywood) and simple but impressively slick movement with fans (choreography by Julia Cave) makes the opening of act 2 feel as dynamic as the Ascot scene in My Fair Lady.
And so to the music. Many of the melodic lines are repetitive which makes them easy for a young cast to nail and carry off with panache although there are one or two nice moments when the principals sing in harmony. It’s Jason Carr’s orchestrations which really enhance it though. The score, beautifully played by a six-piece band under Audra Cramer’s musical direction from keyboard, is full of lovely contrapuntal and decorative effects especially from viola and trombone.
It’s a show with a lot of heart. Of course a 21st century audience sympathises with the Prince. He’s very young. Why on earth should be be forced into marriage? And Cinderella’s father thinks, like many a widowed father to this day, that he’s doing the right thing by remarrying only to have it all go wrong. Yes, there are funny moments and even some black humour, but there’s plenty of serious stuff here too.
It would be a fine achievement for any company anywhere to have staged this high quality, near-faultless show. To do it with a youth theatre, all under 25 and, by definition only able to rehearse part-time, is truly remarkable.
I am on record as saying in the past that I think Chichester Festival Youth Theatre is one of the finest organisations of its type in the country. Cinderella more than confirms my view.
