A blend of something old, something new, and plenty of cheerful sparkle.
The Royal Lyceum’s Christmas extravaganza burst onto the stage with cheers and laughter in its reimagined Cinderella: A Fairytale. Set in a queendom that exists somewhere outside of time and space, Sally Cookson’s new script embraces the familiar comforts of the beloved tale while weaving in clever twists that keep intergenerational audiences fully engaged. From the moment the lights rose, it was clear this production aimed not only to entertain but to reinvent, and in doing so, it truly ushered in the festive spirit.
One of the most distinctive elements of this musical adaptation is its ornithophile throughline. Instead of the traditional mice, audiences are introduced to a charming flock of colourful puppet birds. Their presence adds whimsy and visual interest to the story, and the puppetry injects an additional sense of movement into the production. A particularly poignant touch is the bird controlled by the ghost of Ella’s father, who assumes the fairy godmother role. His gentle interventions provide guidance and encouragement during Ella’s most difficult moments, grounding the production’s playfulness in genuine emotional warmth.
The strengths of the show are plentiful. Cookson’s witty script is engaging, filled with panto-esque humour that had the audience roaring throughout. The score is catchy and lively, with musical motifs that help differentiate characters and settings. The set design deserves special praise: imaginative, colourful, and cleverly versatile, in its transformation into a dynamic playground that extends beyond the stage during interactive sequences. The decision to cast actor-musicians who double as puppeteers created an energetic fluidity, allowing scenes to shift seamlessly from dialogue to music to movement. And of course, no Cinderella story would be complete without a few magical moments of ingenious props and costuming.
However, the production is not without its bumps. The pacing of the first act lagged noticeably, taking considerable time to find a steady rhythm. This may well have been the result of opening-night jitters, but the lack of momentum did drain the show’s early energy. Fortunately, by the act’s end, the cast had settled into step, and the second act blossomed into a confident, engaging, and thoroughly charming piece of theatre. Even a few technical mishaps—while momentarily distracting—ultimately became sources of unexpected humour, particularly for seasoned theatregoers who know such teething issues are par for the course early in a run.
Several performances stood out. Matthew Forbes, as Brother, delivered a delightfully larger-than-life portrayal that won the hearts of the entire audience. Carly Anderson’s Queen offered razor-sharp deadpan comedy and anchored one of the most riotously silly chase scenes to ever grace the Lyceum stage. The ensemble overall was excellently cast, each performer carving out moments of brilliance that allowed a modest cast to fill the space with ease.
Ultimately, Cinderella: A Fairytale is a warm, witty, and wonderfully imaginative seasonal treat. If you’re searching for festive theatre with intergenerational appeal—a blend of something old, something new, and plenty of cheerful sparkle—look no further than the Lyceum’s delightful little nest of a show, running until 3 January 202