Choreographer JoAnn M Hunter’s exuberant numbers range from a shimmering waltz and celebratory salsa to a homoerotic military dance. Laurence Connor’s production includes a thrilling use of the revolve that involves the stalls audience, and Gabriela Tylesova’s resplendent design features story-book gilt tendrils, giant wigs, and castle turrets inspired by a medieval fortress. Overall, Lloyd Webber’s score is catchy enough – the stirring "Bad Cinderella" and yearning "Only You, Lonely You" are the take-home earworms – but has too many reprises, ballooning the run time and crowding out supporting characters like Gloria Onitiri’s sinister Godmother. When they exchange teeth-gritted threats over tea in the delicious duet "I Know You", it’s like Dynasty meets The Crown. Victoria Hamilton-Barritt is a commanding Cruella of a Stepmother and Rebecca Trehearn’s Queen a regal diva. But, along with David Zippel’s brilliantly witty lyrics, this is a satisfyingly contemporary Cinderella that still retains its fairytale magic.īut it’s the villains who have the most fun here – and, refreshingly, the show is ruled by older women. And what a ball it is: easily one of Lloyd Webber’s most entertaining musicals – a family-friendly extravaganza, with larger-than-life characters that make up for our lost pantomime season in 2020.īook writer Emerald Fennell, who won a screenplay Oscar for her film Promising Young Woman, gives us a warmer version of that satirical observation, peppered with silly jokes, though the set-up takes too long. If there’s any justice, Cinderella will match its lengthy run, allowing millions of us to go the ball. This is Lord Lloyd-Webber’s first new show since 2015’s School of Rock. But their continuing support “has made all the difference to all of us in the theatre to be able to keep going.” He concluded with the modest wish that Cinderella audiences would think it’s been worthwhile – and, judging by the rapturous reception from a full-capacity crowd, it’s a happy ever after for everyone. Lloyd Webber added that audiences “all over the country have been frankly messed around” by pingdemic delays. But, said Lloyd Webber on Wednesday night, “short of a passing asteroid hitting us”, the show could finally go on. The £6 million production had to close in July after one cast member tested positive for Covid, and the furious composer postponed its return to this week, when double-jabbed people no longer have to quarantine – a delay costing £500,000. “I’m pinching myself – I can’t quite believe we’re here,” exclaimed Andrew Lloyd Webber in a pre-show speech at the long-awaited opening night for his West End musical Cinderella.
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