Cinderella | Rose Theatre

Rose Theatre's chosen Christmas production this year is none other than Cinderella; but not as you know it. Written by Chris Bush and Roni Neale, the classic fairytale has been reimagined into a new show that guarantees audiences the most festive and fabulous night out. Directed by Owen Horsley, the show boasts the coming together of some of the industry's finest talent along with Rose Theatre's very own Rose Participate young members, making more than just Cinderella's dreams come true. 

Cinderella follows a modern day teenager, Ella, whose Christmas has been ruined by her step mother Lilith (whose vegan cooking is unbearably bad) and annoying ugly twin step sisters (Serena and Greta, although less affectionately referred to as Snotty and Grotty). Not at all is lost, however, when three fairies (Sapphire, Ruby and Cubic Zirconia) arrive to save Ella and whisk her away to the Prince's ball. In a magical world far far away, Prince Chadley wishes to escape the stressful life he leads, overcome his bloodlines curse and to find his one true love. Ella and Prince Chadley stumble upon each other, but their love is short lived when the evil Lady Dungeness and her two daughters Snotterella and Groterella are determined to marry the Prince. Through a hilarious sequence of events, and with midnight approaching fast, Ella must find a way to save herself, her friends and the Prince. 

Bush and Neale have breathed new magic into Cinderella, creating a show that feels more exciting and accepting with a clear vision to celebrate everybody. The show leans into the familial relationships with a mature and sensitive approach, discussing the strained nature of blended families, and reminding everyone that love truly makes all the difference. The show ensures that the usual tropes of the fairytale are kept in place, with makeovers and magic, yet also brings a refreshing update by promoting self-love, acceptance, societal values, and feminism. The play, admirably, encourages individuality at every turn, yet never once feels forced or patronising and instead does so in a natural way.

Matt Winkworth (Music, Orchestrations and Musical Direction) has created an impressive score for the show, with songs that feel as though they belong in a West End Musical. The quality of each song is tremendous and they remain some of the show's best moments. The songs are catchy, lyrics that are filled with clever puns, soulful vulnerability, impressive rhymes and showcase the cast's gorgeous vocals. Most characters are given solos or a generous portion of a song, allowing for the entire cast to come alive on stage and create wonders of their own. Particular standouts are The Witching Hour in a beautiful performance by Kara Lily Hayworth, If The Shoe Fits by the comedic duo Hannah Akhalu and Corrina Buchan, I Remember in a standout turn by Maddy Hunter, Chadley's Lament by the ever impressive Joaquin Pedro Valdes and We're Gonna Have A Ball by the entire company in a dazzling act one closer. Shay Barclay's choreography lends itself well to these numbers, as the company often breaks out into full fledged choreography. 

Cinderella boasts of a beautiful blend of young actors making their professional debut and industry veterans as they perform seamlessly alongside one another. Cinderella has two young casts performing on alternate days - at this performance the Green Cast were performing. The young performers are from the Rose Youth Theatre, an initiative to train and empower young performers under 18. 

Alice Lamb, Mimi Forster and Medha Vaidyan are hilarious as the transformed mice (Bibbidi, Bobbidi and Brian), whose cheese obsession and raps have the audience laughing throughout. Louie McKillop and Dylan Corchete-Quan as Prince Chadley's best bros Radley and Bradley are hilarious as they commit to their roles, equally appearing pillars of support and best friends.

Maia O'Dwyer, Lily Quille, and Ellie Searle as the three fairies (Sapphire, Ruby and Cubic Zirconia) are a show-stopping trio as they bring a unique energy on stage. The trio work well together, creating an effortless chemistry that allows for physical comedy gags and a playful banter that is delightful. O'Dwyer's performance as the fierce feisty feminist is particularly wonderful. Arthur Polidoro Williams is impressive as Buttons, or self named B-Dog, who holds his own very well amongst the cast. Williams' Buttons is both earnest in his portrayal as the loyal and loving best friend of Ella, and hilarious as he uses sarcasm and wit to best banter with the three mice. 

The adult cast are a stellar set of strong performers who dazzle on stage. Simon Yadoo is quietly brilliant as Richard. Yadoo makes the rare appearance, but is impactful when he does. His cheerful dad jokes amusingly garner some of the night's biggest laughs. Hannah Akhalu and Corrina Buchan are golden as the stepsisters. They are both hilarious, committing to the role with exaggerated body language, painfully odd laughter and bizarre attitudes that have the audience laughing along. 

Maddy Hunter makes her professional debut as Ella, delivering an admirable performance. Hunter's Ella dives behind the layers of the bratty teenager to discover her vulnerability and her fierce defence mechanisms. Hunter is charming in the role, impressively allowing the occasional unlikeable character traits to still be endearing with a heartfelt performance. Hunter's excitement is evident through Ella when the princess Cinderella is been brought to life. Hunter not only takes on these animated expressions well, but adds her own modern twist, allowing for Ella to exist in both realms. 

Joaquin Pedro Valdes is brilliantly cast as Prince Chadley. Valdes' Chadley takes a departure from the usual Prince Charming trope, instead focusing on his rizz. Chadley's cursed affliction wherein he has facial blindness (finally an explanation to the original tale) is played out well to comedic effect with Valdes' larger than life dramatics at all times, that feel as though they belong in a children's animated movie. Valdes' budding bromance and eagerness to just be 'regular Chad' are paralleled well with Ella, allowing the Prince to appear as a well developed character of his own. Valdes' Chadley, whilst vulnerable at times, is primarily quite camp, as he struts about on stage beneath a life size portrait of his regal stature. 

Kara Lily Hayworth as Lilith is a gorgeous casting choice. Hayworth's grounded performance amongst all the chaos and colourful characters helps anchor the story and she remains at its core. Hayworth's Lilith is loving yet firm and she remains consistent throughout the piece, thus becoming the most authentic character in the show. Lilith, although primarily viewed and described from the perspective of Ella, exists as the strongest written character as she struggles to find a place in their blended family, struggling between the contrasting relationship between her own daughters and Ella. Her solo is outstanding with a heart-rending performance that is so beautiful that one could get lost in her performance. Hayworth is also hilarious as Lady Dungeness, as she becomes the family tyrant, unleashing her own manipulative nature. 

The show's stand out performance, however, belongs to Rose Young Theatre's company member Jack Fernie as Ella's cat, Mr. Bingles. Fernie is a scene stealer every time he's on stage with an unforgettable performance. Purr-fectly cast, Fernie's self-confidence is infectious, with the audience immediately won over by his first entrance and his playfulness by the end of the show. The writing of Mr. Bingles is some of Bush and Neale's finest, and Fernie takes it to a whole other level with his unbothered and utterly cool attitude. Fernie commands the stage with ease and unintentionally truly does become the crowning glory of the show. Considering this is Fernie's professional debut, it's safe to say that the industry has a dynamite performer on their hands. 

Ryan Dawson-Laight has created an excellent collection of costumes that both feel grand and yet personal to each of the characters. The stepsisters have outfits that are drastically unflattering and yet still fantastically creative. Prince Chadley's regal fit is often playfully used as a Cape that enhances Valdes' camp performance. Ella's ball gown pays tribute with a combination of blue and pink, yet still feels as though it were Ella. Ella's shoes are particularly stunning, with a clever nod to the super hit musical Wicked. The fairies are given their own moments to shine in with fabulous dresses, but yet again it's Mr. Bingles' simple sequined black outfit that becomes the show stealer.

Laight's set is well contained with one central structure that doubles as both Ella's house and bedroom and the Prince's castle. This set is surrounded by a beautiful ethereal setting with a blue starry night, full glowing moon and trees lining the back wall. These trees have been dressed with lights, with lighting that is used well by lighting designer Bretta Gerecke, creating moments that are visually gorgeous. Dan Balfour's sound design is particularly striking in tandem with the lighting during moments of Prince Chadley's affliction with a thundering effect that rumbles throughout the entire audience. 

Cinderella deviates from what one would expect from a pantomime but this works well in its favour. This iteration of Cinderella weaves a magic of its own and thankfully this magic escapism doesn't end at midnight and will continue to run at the Rose Theatre until 4th January 2026. 

Tickets and More Information

★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Mark Douet