Like many others, it’s safe to say that this show hasn’t had an easy ride, although this production’s struggles were made more public than most during the pandemic. Andrew Lloyd Webber’s eagerly anticipated new interpretation of Cinderella is now officially open at the Gillian Lynne Theatre and has everything on its side - a legendary composer, an Academy Award winning book writer, a Tony and Olivier Award winning lyricist, a stellar cast and so much more. So does it match its quality on paper?

There have been umpteen adaptations of Cinderella over the years, most notably the Disney animated film and in more recent years, the Rodgers and Hammerstein version. So what makes this one different? Well, this is not the angelic downtrodden servant girl that we are often painted a picture of; this is a sassy, rebellious Cinderella but who you still root for implicitly.

Whilst elements of the well-known plot remain, writer Emerald Fennell has shaken the popular tale up and created a story for the modern age. The book, whilst not perfect, must be commended for its fresh approach and excellent morals portrayed within. The script is also extremely quick-witted, with her words delivered expertly by principal cast members. 

This Cinderella is full of angst and is a much more sexualised piece, reflected in certain costumes (designed by Gabriela Tylesova) as well as frequent innuendos, making it less suitable for the younger members of the audience. Whilst it could be argued if this is needed, it can’t be denied that it makes for enjoyable viewing, with Vinny Coyle, Sam Robinson and Giovanni Spano as the ‘lead hunks’ given the chance to shine during the ‘Man’s Man’ number led by the Queen, even if this is a slightly incestuous lyrical tribute to her first born son, Prince Charming!

Andrew Lloyd Webber’s music is frequently recognisable as being his, with soaring melodies, reprises and punchy ballads - Prince Sebastian’s ‘Only You, Lonely You’ and ‘I Know I Have A Heart’ performed by Cinderella are both overwhelming musical highlights, with the latter also being a visual treat when accompanied by Bruno Poet’s stunning lighting.

Tylesova’s set design is very much defined by the revolve. Whilst there are set pieces added to create this world, the expert use of the revolve ensures plot progression, with Laurence Connor’s direction and JoAnn M. Hunter’s choreography to be applauded for its coordination and style throughout. There is also a spectacular show-stopping scene bringing together design, direction and choreography at the top of Act Two (which we won’t spoil) but it is a MOMENT.

We know that Lloyd Webber had Carrie Hope Fletcher in mind to play the title character from very early on in the process, and it is easy to see why as this version of Cinderella fits her like a glove. Physically and vocally, she embodies the role and gives a faultless, confident performance from start to finish - every inch the leading lady. However, the show-stealer here is undoubtedly Victoria Hamilton-Barritt as Cinderella’s meddling Stepmother. She is a naturally comedic actress who well and truly puts her stamp on this role - think Joanna Lumley meets Frank Spencer! She manages to sustain this somewhat throaty vocal throughout, which impressively doesn’t waiver in the musical numbers either. ‘I Know You’ is a definite highlight alongside Rebecca Trehearn’s spritely Queen.

The Fairy Godmother, or simply the Godmother in this case, is usually a pivotal role in the Cinderella story but here seems a bit of a wasted opportunity. Whilst Gloria Onitiri playing her is clearly a talent, she is greatly underused with only one appearance in each act. The ‘transformation’ scene has a futuristic, other worldly visual quality and whilst not the moment it could have been, Onitiri dominates ‘Beauty Has A Price’ asserting the Godmother’s power in a modern way.

Prince Sebastian is a timid sort of character with very little for the actor to get their teeth into initially it seems. However, from the aforementioned passionate performance of ‘Only You, Lonely You’ onwards, he finds his stride and understudy Michael Hamway gives a very believable and committed performance in the role at this particular show. Other notable performances also come from the definitely-not-ugly but ‘straight out of Love Island’ sisters, Marie and Adele, played brilliantly by Georgina Castle and Laura Baldwin respectively.

A refreshing and imaginative, if not slightly off-the-wall, spin on a classic tale, not to be missed.

**** Four stars

Reviewed by: Jenny Ell

Andrew Lloyd Webber’s Cinderella is currently booking until May 2022 and tickets can be purchased here.