Cinderella
Cork Opera House
★★★★★
Spectacular may be an overworked adjective in terms of pantomime, but this Cork Opera House presentation of an overworked theme deserves it. The sunbursts of light, colour, music and costumes essential for the captivation of a multigenerational audience are not only here in plenty but are also provided with a professional grace that enhances the impression of impromptu joyousness.
Even before the screens lift on an oddly Ruritanian village there is a communal intake of breath as the much-bustled Fairy Godmother, aka Nanny Nellie, descends from a starry sky. Perhaps such glamour and wonderment are only to be expected. What are less usual are the extra production values from Eibhlín Gleeson, Rory Murphy and Brendan Galvin. It’s not just a buffet of pleasantries certain to delight an audience where so many younger members are equipped with enough food and drink for a picnic – and, therefore, who risk being diverted from what is happening on stage.
If all these youngsters are open-mouthed it’s not because of the intake of crackling snacks. Between them, director Trevor Ryan and co-writer Frank Mackey have trimmed the fairy tale into a series of brief references. We have a rather well-dressed Cinderella in a busy household of ugly stepmother, ugly stepsisters and several others, but nobody wastes too much time on the script.
The basics are common property. A touch of domestic injustice, a Prince Charming (with the charming Paul Wilkins making as much as he can of his chances), a stepmother (from Michael Grennell, stately in a vocal range from tenor to basso-profundo and a hat like a volcano in eruption), a godmother (from Frank Mackey, making much of a bosom and backside of surprising agility, especially when climbing a beehive that really has nothing to do with anything).
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Then there is Cinderella. Into this atmosphere of unquestioning acceptance Megan Pottinger brings distinction of style and characterisation. There is also Buttons, always a difficult role, but Brian Ó Muiri bridges Ruritania and Broadway apparently without effort.
The glee uniting these different aspects depends not so much on local gags and media references (although those to shows such as Married at First Sight might be beyond the dominant age group here). Instead it is the captivating talent and commitment of the ensemble dancers and the imaginative choreography of Ciaran Connolly that outpace expectation. Connolly in particular revels in opportunity: his coachmen are a Dickensian fantasy.
With exuberant lighting from Mick Hurley, music from the band under Jimmy Brockie hidden under the stage, and with costumes from Muireann Doyle, anything else might seem superfluous. Yet there is more, including an invitation delivered by drone, and a transparent coach like a Ferris wheel cabin based at Cape Canaveral and soaring to bring Cinderella high above 1,000 enchanted heads.
Cinderella is at Cork Opera House until Sunday, January 19th
