With almost three hundred professional pantomimes around the UK this year, Cinderella remains the most popular title, and it’s not hard to see why. It has all the essential elements: a rags to riches story, the threat of disaster and a battle between the forces of good and evil. How this is all portrayed can vary widely, but the Crossroads production at Wimbledon this year is an excellent example of that company’s spectacular pantomime style.

The basic story survives – just – although only in outline form. Cassie Compton is an endearing Cinderella, but gains the services of her Fairy Godmother (Alison Jiear in a well-sung and confident performance) without first doing any stick-gathering or other good turn. The business of Dandini assuming the sash and identity of the Prince is rapidly set up in the prologue and then almost as rapidly dispensed with, and there’s no clock at the ball; but at least with this title, most people will know the story already.

There’s no actual transformation scene as the kitchen changes to the coach unseen, but with a coach as impressive as the one from The Twins FX that is all forgotten as the audience watch it fly above them. Some of the spectacular costumes are recognisable from the Palladium pantomime of a few years ago – who could ever forget those pink bearskin hats or the nightmareish dancing pumpkins – and it’s good to appreciate them in a smaller theatre.

Solomon Davy does what he can with the Prince (and works well with Buttons) but is not given much to do. As Dandini, often the better role, Daniel Norford is a commanding presence and it would be good to see him in a bigger role. The sisters, Leanne Jones and Catherine Morris, are nicely contrasted grotesques who look and sound the part, but they don’t have much to do.

It is the combined performances of the two headliners, together with the high production values, that make this show one of the best of its kind. Both of them fully take on their roles rather than just making guest appearances. Pete Firman brings his magic skills to the role of Buttons, but also handles not just the comedy well, but also the essential pathos of the role. He will get a lot more laughs in the wall routine when the effects team don’t fill the stage with smoke so that he can’t be seen from the Stalls, and he is adept at the difficult task of getting humour without sarcasm from the songsheet with the children from the audience.

Commanding the stage in his role as Baroness Demonica Hardup is Craig Revel Horwood, who receives a rapturous welcome from the audience and then proceeds to more than live up to expectations. The combination of his larger than life persona and some very cleverly designed costumes means that he dominates the stage, and yet also plays his role in the plot with care and conviction. The ticket-tearing scene, always a test of a performer in this role, is retained, but he is just as at home with the broad humour of the usual “If I were not…” song. Now if only he would drop the fake wig-loss, beloved of so many panto dames…

Congratulations to director Michael Gyngell and all his team, especially choreographer Lizzie Gee and the eight hard-working members of the ensemble. As they must know, it’s not enough just to have the enormous resources of Crossroads Pantomimes and some star names, you also need to bring those components together to make a united show. All involved in this show clearly understand pantomime; it’s a spectacular, funny and joyous production.

***** Five stars

Reviewed by: Chris Abbott

Cinderella plays at New Wimbledon Theatre until 7 January 2024, with tickets available here.