Cinderella at Hackney Empire is a festive theatrical experience that embraces the full spectrum of pantomime tradition. With a script by Will Brenton and direction from Clive Rowe, the show follows Cinderella (Siobhan James) as she navigates life under the tyranny of her Wicked Stepmother Oblivia (Alexandra Waite-Roberts) and Ugly Sisters Flatula and Nausea (Kat B and George Heyworth), and asks how dreams survive when you're trapped scrubbing floors. When Kat B and George Heyworth as Flatula and Nausea stomp onto the Hackney Empire stage in what can only be described as architectural feats of costume design, you know you're in for a panto that's unafraid to push boundaries. The Ugly Sisters don't just enter, they explode into the space with the kind of physical comedy that makes the Victorian venue's balconies shake with laughter.
This production works because it balances spectacle with sincerity. Director Clive Rowe understands that pantomime thrives on extremes, and he's assembled a cast that knows exactly when to wink at the audience and when to play it straight. Siobhan James as Cinderella delivers a performance that is refreshingly grounded amid the chaos. Her vocals soar during the ballad moments without the saccharine edge that can plague the role.
Tim Mitchell's lighting design transforms the stage during the transformation sequence, which is a gradual shift from cold blues to warm amber that literally illuminates Cinderella's journey from hearthside drudgery to ballroom splendor. It's the kind of technical choice that elevates the story without announcing itself. The glass slipper, lit from beneath with a pinpoint of light that catches the prop at just the right angle, draws gasps even from the adults who've seen this tale a hundred times.
The show thrives on its lively humour and contemporary touches, which keep the audience thoroughly entertained throughout. The cast leans into the fun with infectious energy, even involving the audience, as they pick a man from the crowd to profess his love every twenty minutes, much to everyone’s delight. Even the playful stumbles, in true pantomime spirit, only add to the warmth and charm of the performance.
Cleo Pettitt's costumes deserve their own curtain call. The Wicked Stepmother's gowns, particularly a burgundy number with shoulders that could slice through the fourth wall, are camp perfection. And when Jade Johnson's Fairy Godmother waves her wand and the ensemble appears in ball attire, the stage becomes a kaleidoscope of sequins and silk that justifies every penny of the ticket price.
The production's greatest strength is its refusal to condescend. Wendy Gadian's musical arrangements honor classic panto traditions while making room for harmonies that challenge the performers. The audience participation sequences, led with infectious energy by McLean and the Ugly Sisters, never feel obligatory. Even the youngest viewers are treated as collaborators in the storytelling, not just spectators to be managed.
Steven Edis’s original music lights up the stage, especially in the ensemble numbers. The kitchen scene, choreographed by Michael Ward, has the cast moving like a well-oiled machine, filling the theatre with joy and momentum. The costume transformations are genuinely exciting to watch, and the Ugly Stepsisters completely steal the spotlight with their outrageous personality and impeccable comedic timing. You almost forget about Cinderella and Prince Charming because you’re having so much fun with the Stepsisters.
This is a pantomime that understands its assignment to send audiences out into the cold December night with warmth in their chests and songs on their lips. The clock may strike twelve, but the magic lingers well past midnight.
