We caught up with writer, composer and performer David Gibb to talk about his deliciously imaginative new musical for all ages: Cinderella Ice Cream Seller, playing at Underbelly Bristo Square this August.
Characters Talvi and Caldwell tell the story from the ice cream shop. What made you choose that framing?
When I’m creating shows for children and families, I’m always thinking about the audience’s role. For me, there’s no such thing as a fourth wall. There has to be a reason they’re there. So settings like shops, where you might naturally be waiting or interacting, work really well. The idea that the audience are customers waiting to be served ice cream felt really playful.
As the story takes off, that concept fades into the background a bit, but that’s okay. It still gives the characters a clear reason to speak directly to the audience, which makes the whole world feel more connected and satisfying. And let’s be honest, an ice cream shop is an exciting place for kids — and adults! It’s somewhere they want to be even before the show starts. The set is a visual treat, and that’s really important too.
The show’s full of fun songs and characters. Do you have a favourite moment or tune?
I play Caldwell, who’s a very uptight, rule-following character. He’s constantly trying to rein in Talvi’s wild ideas, both in storytelling and ice cream-making. So for the first half of the show, the audience probably finds him a bit annoying because he’s always saying no.
But there’s a turning point where we see who he really is, through a song called Stamps In My Passport. It’s a lovely moment when the audience starts to understand him and warm to him. I love watching that shift, when people suddenly get on his side. You can feel it in the room, and it’s always really special.
How do kids usually react during the show? Any memorable audience moments?
There’s a big reveal when Cinderella creates a special ice cream for the prince’s ball. She’s used the glass slipper the fairy godfather gave her as a sundae dish. It’s a beautiful, theatrical moment, and the prop itself is a showstopper.
Every time we bring out that glass slipper sundae, there’s an audible gasp from both kids and grown-ups. It’s such a satisfying moment because it tells us we’ve captured their imagination. The prop was made by Jana Lakatos, who was fresh out of university at the time. This was her first professional job, and honestly, she nailed it. That gasp is hers, really.
What’s it like writing a musical that appeals to both children and grown-ups?
I don’t think writing a family musical is all that different from writing one for adults. The fundamentals — storytelling, structure, songwriting — are all the same. The main difference is that you always have to keep the child in the audience in mind. How are you keeping them engaged? When are you speaking directly to them? What’s going to spark their imagination?
There’s a brilliant book by David Wood called Theatre for Children. He’s a bit of a legend in children’s theatre, and honestly, most of what he says could apply to any kind of theatre. I actually think there’s no such thing as ‘theatre for children’. There’s just good theatre, good music, that happens to be appropriate for younger audiences too. And the best kind is something everyone can enjoy together. That’s always the goal for me.
You’ve worked on so many creative projects for young audiences. What keeps you coming back to making music and theatre for kids?
For me, it’s the chance to create a shared experience that children and adults can enjoy together, on the same level. That’s a really rare and lovely thing.
And when you’re making work for children, you can fully embrace the silliness. No idea is too ridiculous or too far-fetched. You get to follow it all the way to its most joyful, absurd conclusion. Take our Cinderella, for example — she makes ice cream and becomes a multi-millionaire, with parlours on every corner. It’s completely ridiculous, and yet, when you really lean into it, something about it becomes genuinely magical.
I think deep down, most of us are still trying to connect with our inner child. That sense of playfulness is something many of us lose in our day-to-day adult lives. So making theatre for young people lets me tap into that for myself, and maybe even help the grown-ups in the audience do the same. That feels like a pretty special thing.
For tickets go to https://www.edfringe.com/tickets/whats-on/cinderella-ice-cream-seller-a-musical