Cinderella (Click here to visit CorrBlimey)
November 16, 2024 | By Dominic Corr
★★★★☆
Church Hill Theatre: Wed 13 Nov – Sat 16 Nov 2024
Review by Dominic Corr
It’s getting colder. And life, frankly, feels a bit less magical with everything going on. And in a sea of serious drama and never-ending news cycles, sometimes, audiences crave and need a touch of classic magic and spirit. Well, look no further to a similar land to ours, where the poor find themselves at the mercy of the elite, where all they can hope for is a bit of kindness, as Threepenny Theatricals present Rodgers & Hammerstein’s Broadway Cinderella. A beloved staging of the fairytale, which presents a tale as old as time through a new looking glass, running at Church Hill Theatre, Edinburgh, until November 16th.
Much of this Cinderella fable is the same; fairy godmothers, wicked stepmothers, and a pumpkin-turned carriage, but the method and storytelling take turns to pay tribute to both the original tale and the glory of the stage. Artistic Directors Fiona Main and Simon Boothroyd find a balance between the two, crafting a timeless production that leaps right from the storybook but has the footwork and voice to stand on the stage proudly. Even with the odd stage mishap, thanks to a rogue curtain and the occasional sounding misbalance, the team gives it real welly and charisma.
There are certain names which, when spotted in a programme, can make an audience breathe a sigh of relief and anticipation – knowing that they’re in safe hands. Threepenny Theatricals benefit from an entire programme full of them, but few carry as much of a stamp as Rebekah Lansley, a familiar name for any who have experience with Edinburgh’s grassroots scene. Our Ella camping out by the fire this evening to earn their ‘cinders’ stripes, vocally Lansley’s skill is never in question, always delivers – balancing well with the large ensemble numbers, rarely striking out or distracting. But when a solo belt is required, there’s welly to the pipes, and the clarity is as gorgeous as ever. Comedically, continues to build beyond just a vocally gifted performer, allowing themselves to join in on the near-Panto theatrics of it all, delivering some choice lines and interactions with Boothroyd (in a wonderfully slimy yet sophisticated role as Sebastian) or the two wicked(ish) stepsisters Charlotte and Gabrielle (Gillian Robertson and Angie Fowler).
Making the tale as much their own, Fowler and Robertson take these antagonistic roles and make it their own – Fowler’s Gabrielle afforded a more engaging romance with studious Jean0Michel (Sebastian Davidson) in a charming romantic sub-plot but maintains the roles of the top dramatics. Robertson’s Charlotte, however, is everything we wish we could be. Bold, brash, loud, and self-centred. And there isn’t a moment where the audience isn’t howling at their precise delivery, expressions, and physicality. But cupcakes compared to mother, Edinburgh grassroots royalty, Elspeth Whyte, makes for a vindictive, yet still comedic and approachable Madame, the wicked stepmother. And even though their resolution in the Rodgers & Hammerstein script comes too quickly, their gradual breakdown and mistrust of Ella’s compassion during a game of ‘Ridicule’ offers an insight into a character who has no concept of the word ‘kindness’.
At the sight of Prince Lother’s horse, or the beast they slay in the opening numbers, and to the pristinely styled hair and effortless charm – everything is princely about Greg McCafferty Thomson, enviably so. But in a real mark of royalty, what Thomson does tremendously well is bolster those they perform with – drawing out the comedy and timed deliveries, making for a band of men which showcases the movement performances of Lewis Boyd and Rob Hussey, given a chance to shine with Louise Williamson’s choreography which is best suited to smaller duets, or the big finale moments within the Kingdom. When dealing with larger set dressings, some moments of the Church Hill stage feel a bit cramped for large ensemble numbers and dip a bit of the elegance of the show, but moments of solo work or comedic movement are spot on.
Deeply fitting, few directors would get away with also being Fairy God Mothers, but the poise and guiding hand suits director Fiona Main in the guise of mad ol’ Marie, wandering the forests. While the role may be more minor, Main makes up for it with gusto, Main and Lansley whipping up a final bit of momentum as we head into the ball and act one finale with their duets Impossible and the companion piece It’s Possible. Together with Booythroyd, the pair nail the humorous elements of the story – and with a strong leading cast, nail the emotional integrity without coming over as too soppy. David Lyle’s musical direction lifts the score and finds a balance with most of the cast, only over-stepping with those with slightly lesser projections, but overall, the entire live orchestra (particularly the strings) do a splendid job.
For some pre-festive fun, Threepenny Theatricals deliver on every front. Not too panto, but with a definite taster of things to come. Enough magic and energy to hold a room while focusing on critical roles and adding some welcome flourishes of scale and set design. And even as a wayward curtain attempts to put a stopper on the finale, the canny direction and confidence of the cast knows where to shift and pivot to work with the failures – a magical show from an impressive group.
November 16, 2024 | By Dominic Corr
★★★★☆
Church Hill Theatre: Wed 13 Nov – Sat 16 Nov 2024
Review by Dominic Corr
It’s getting colder. And life, frankly, feels a bit less magical with everything going on. And in a sea of serious drama and never-ending news cycles, sometimes, audiences crave and need a touch of classic magic and spirit. Well, look no further to a similar land to ours, where the poor find themselves at the mercy of the elite, where all they can hope for is a bit of kindness, as Threepenny Theatricals present Rodgers & Hammerstein’s Broadway Cinderella. A beloved staging of the fairytale, which presents a tale as old as time through a new looking glass, running at Church Hill Theatre, Edinburgh, until November 16th.
Much of this Cinderella fable is the same; fairy godmothers, wicked stepmothers, and a pumpkin-turned carriage, but the method and storytelling take turns to pay tribute to both the original tale and the glory of the stage. Artistic Directors Fiona Main and Simon Boothroyd find a balance between the two, crafting a timeless production that leaps right from the storybook but has the footwork and voice to stand on the stage proudly. Even with the odd stage mishap, thanks to a rogue curtain and the occasional sounding misbalance, the team gives it real welly and charisma.
There are certain names which, when spotted in a programme, can make an audience breathe a sigh of relief and anticipation – knowing that they’re in safe hands. Threepenny Theatricals benefit from an entire programme full of them, but few carry as much of a stamp as Rebekah Lansley, a familiar name for any who have experience with Edinburgh’s grassroots scene. Our Ella camping out by the fire this evening to earn their ‘cinders’ stripes, vocally Lansley’s skill is never in question, always delivers – balancing well with the large ensemble numbers, rarely striking out or distracting. But when a solo belt is required, there’s welly to the pipes, and the clarity is as gorgeous as ever. Comedically, continues to build beyond just a vocally gifted performer, allowing themselves to join in on the near-Panto theatrics of it all, delivering some choice lines and interactions with Boothroyd (in a wonderfully slimy yet sophisticated role as Sebastian) or the two wicked(ish) stepsisters Charlotte and Gabrielle (Gillian Robertson and Angie Fowler).
Making the tale as much their own, Fowler and Robertson take these antagonistic roles and make it their own – Fowler’s Gabrielle afforded a more engaging romance with studious Jean0Michel (Sebastian Davidson) in a charming romantic sub-plot but maintains the roles of the top dramatics. Robertson’s Charlotte, however, is everything we wish we could be. Bold, brash, loud, and self-centred. And there isn’t a moment where the audience isn’t howling at their precise delivery, expressions, and physicality. But cupcakes compared to mother, Edinburgh grassroots royalty, Elspeth Whyte, makes for a vindictive, yet still comedic and approachable Madame, the wicked stepmother. And even though their resolution in the Rodgers & Hammerstein script comes too quickly, their gradual breakdown and mistrust of Ella’s compassion during a game of ‘Ridicule’ offers an insight into a character who has no concept of the word ‘kindness’.
At the sight of Prince Lother’s horse, or the beast they slay in the opening numbers, and to the pristinely styled hair and effortless charm – everything is princely about Greg McCafferty Thomson, enviably so. But in a real mark of royalty, what Thomson does tremendously well is bolster those they perform with – drawing out the comedy and timed deliveries, making for a band of men which showcases the movement performances of Lewis Boyd and Rob Hussey, given a chance to shine with Louise Williamson’s choreography which is best suited to smaller duets, or the big finale moments within the Kingdom. When dealing with larger set dressings, some moments of the Church Hill stage feel a bit cramped for large ensemble numbers and dip a bit of the elegance of the show, but moments of solo work or comedic movement are spot on.
Deeply fitting, few directors would get away with also being Fairy God Mothers, but the poise and guiding hand suits director Fiona Main in the guise of mad ol’ Marie, wandering the forests. While the role may be more minor, Main makes up for it with gusto, Main and Lansley whipping up a final bit of momentum as we head into the ball and act one finale with their duets Impossible and the companion piece It’s Possible. Together with Booythroyd, the pair nail the humorous elements of the story – and with a strong leading cast, nail the emotional integrity without coming over as too soppy. David Lyle’s musical direction lifts the score and finds a balance with most of the cast, only over-stepping with those with slightly lesser projections, but overall, the entire live orchestra (particularly the strings) do a splendid job.
For some pre-festive fun, Threepenny Theatricals deliver on every front. Not too panto, but with a definite taster of things to come. Enough magic and energy to hold a room while focusing on critical roles and adding some welcome flourishes of scale and set design. And even as a wayward curtain attempts to put a stopper on the finale, the canny direction and confidence of the cast knows where to shift and pivot to work with the failures – a magical show from an impressive group.
Menu
|
|
