Then Cinders unleashes the show’s biggest, string-drenched, swoony number, Far Too Late (To Sing A Love Song). Seb gets to bawl his eyes out with a typically lush Only You. But her acoustic duets, riffing with Sebastian, afford some of the sweetest moments. The first big tune is Hope Fletcher’s rocky anthem of mock self-reproach, Bad Cinderella. We’re treated to a glittering parade of glorious kitsch, with wobbly cartoon sets for the chocolate box of Belleville.īut it’s Lloyd Webber’s music that does the heavy lifting, with one of his most varied scores. Ivano Turco, pictured centre, bows at the curtain call during the press night performance of Cinderella at the Gillian Lynne Theatre on August 18 Cast members including Georgina Castle, director Laurence Connor, Hope Fletcher, Lord Andrew Lloyd Webber, Victoria Hamilton-Barritt, Laura Baldwin and Caleb Roberts (pictured left to right) bow at the curtain call last night until his mother demands he make a suitable marriage. Hunky Prince Charming, incidentally, has gone missing and it’s his little brother Sebastian (Ivano Turco) who’s Cinderella’s best friend and beloved. Fabulously catty – especially in the feuds between the show’s two glorious divas: the Queen of Belleville (a gleefully giddy Rebecca Trehearn) and Cinderella’s stepmother (played by Victoria Hamilton-Barritt as a husky drag queen firing volleys of devastating put-downs). From start to finish, this is basically a panto out of season.
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Thanks to a scorched earth re-write of the fairy tale by Emerald Fennell, who won an Oscar for the screenplay of her revenge movie Promising Young Woman, she’s a heroine for our merry age of Gogglebox, Love Island and #MeToo feminism.
She gives us a sarky, surly, gothic Cinderella who’s more into black lipstick and DMs than pumpkin carriages and glass slippers. Cast member Carrie Hope Fletcher bows at the curtain call during the press night performance of Cinderella at the Gillian Lynne Theatre on Wednesday night The good Lord even threatened to join the jailbirds at Her Majesty’s Prisons rather than carry on running his theatres at reduced capacity.īut now, at last, it is Cinderella who takes centre stage, in the form of leading lady Carrie Hope Fletcher, giving a sharp poke in the eye to the Disney idea of feminine virtue.
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