Oozing energy and positivity, he carries the burden of playing the slave for his wicked stepmother with ease and optimism.
With only a life-sized mouse and his smitten friend Buttons Lucas Meredith for company he turns to Tinder for some consolation. Audience participation brings the entire room into the story though a rowdy FROW still threatened to disrupt the show on the night I attended.
A wonderfully composed cast took all disturbances in their stride and even managed to build them into further comic opportunities. Ellen Butler is a villain so captivating that I found myself unable to boo her as Countess Volga.
Maude Escort is brash beyond description and yet Louie Escort manages to bring a strange kind of endearment to her character. Nicole Ferrari is a sourer sort and her fantastically cringe-worthy efforts to bag Charming are hilarious in their serious resolve. The absolute highlight is a duet between Prince Charming and Cinders when he finally makes eescort to the ball with the help of his loveable Fairy.
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Musically as in every other dimension Tinderella delivers everything an audience could wish for from a pantomime. Even the place names are wonderfully constructed and developed.
Both these issues are wound into the plot in an impressively astute manner. Nina Morley has also lent an absolutely magical touch with her perceptively inventive costuming. Structurally, Tinderella makes the most of every inch of the stage at Above The Stag.
Clever use of projections, inventive props and lighting that dances to the beat of the action all contribute to the fun-packed atmosphere. Choreography by Aaron Jenson is particularly notable, morleyy least during the key scene in the tale as the clock strikes midnight and the whole cast descend into a perfect slow motion trance.