Review of Cinderella at Hackney Empire

Neil Keenan
1 day ago
2 min read

Neil has a ball at this year's Hackney Empire panto, Cinderella.

⭐⭐⭐⭐⭐

No matter how many times I visit the Hackney Empire, I am always awestruck by its glorious interior. As a beautifully painted stage curtain glitters and festive songs fill the auditorium, I find myself gazing around, happily letting the Christmassy vibes wash over me. It's been a while since I last caught a panto here - Aladdin back in the 1990s (Barry Cryer’s Widow Twanky was a triumph!) - and in the years since, the Empire has rightfully cemented its reputation as the family panto to see. This year, director Clive Rowe returns with an all-singing, all-dancing Cinderella that more than lives up to expectations.

Performers in colorful costumes dance energetically on a vibrant stage with a whimsical, snowy backdrop. Mood is joyful and festive. — Full Company. Photo by Mark Senior

Cinderella at Hackney Empire begins with a flourish as Jade Johnson’s Fairy Godmother appears as if from thin air - the first of many impressive magical illusions to come. A rousing song-and-dance opener introduces a cast larger than many West End productions, brimming with talent and energy. The presence of a live band in the orchestra pit is a joy, lending warmth and punch to the proceedings. Nicholas McLean’s Buttons delivers exactly the right balance of groan-worthy puns and winning charm, while Alexandra Waite-Roberts’ Cruella de Vil-esque Wicked Stepmother, Oblivia, attracts the obligatory boos with relish. Kat B and George Heyworth are a riot as the Ugly Sisters, Flatula and Nausea, their seemingly endless costume changes - each more outrageous than the last - a testament to Cleo Pettitt’s inspired designs. And at the centre of it all is Siobhan James, whose angelic vocals and natural warmth make her a pitch-perfect Cinderella.

A woman dressed as a fairy holding a wand holding hands with another woman dressed in rags. Both are standing — Jade Johnson as the Fairy Godmother and Siobhan James as Cinderella. Photo by Mark Senior

The first half closes with a breathtaking set-piece that demonstrates just how far panto spectacle has come since the days of Daisy the Cow being played by two actors in a furry suit. A flying animatronic horse and carriage rises from the stage, prompting audible gasps and rapturous applause from the audience.

Two people in vibrant costumes pose confidently on stage. The colorful backdrop includes a pink door and winter scenery, creating a playful mood. — Kat B as Flatula and George Heyworth as Nausea. Photo by Mark Senior

By the time the second half begins, the crowd is in boisterous form. I suspect some mums and dads have made full use of the bar during the interval. A riotous ‘12 Days of Christmas’ routine involving some 60-odd cream pies brings the house down, with several cast members visibly struggling not to corpse. The fun continues until (spoiler alert!) Cinderella finally finds her Prince Charming, while Buttons, friend-zoned by Cinders, discovers love with Dandini, the Prince’s valet. A disco finale has everyone on their feet, singing and clapping along, and ensures we all leave with smiles on our faces and a wiggle in our stride. Outside on Mare Street, my carriage (well, the 254 bus) awaits, and I'm home well before midnight strikes.

This is panto done properly: polished, and packed with heart, humour and spectacle. Guaranteed fun for all the family.