Cinderella: A Fairytale at Lyceum Edinburgh Review
Written by Kerry for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
“Cinderella: A New Fairytale” takes a family approach to the well-known story, whilst sprinkling in comedic moments for the adults.
Ella (Olivia Hemmati), who grew up with her father (Richard Conlon) and birds she knew as friends, tries to adapt to life with her new step-family, especially after the passing of her father. Ella’s curiosity with birds draws her close to a boy (Sam Stopford) she meets in the woods, who is birdwatching for the first time. The boy, who turns out to be the Prince (but Ella doesn’t know), invites her to a ball… I mean, function. In fairytale fashion, her step-mother won’t let Ella go to the ball, but with the help of her bird friends, she makes it in time to find the boy, and fall in love.
What struck me about the show was how well the dialogue flowed. We’ve all seen productions of Cinderella that are pretty unbelievable; however, the writers of this production never talk down to the audience. They know we know the story and instead build on top of it, specifically Ella’s relationship with birds, giving her companions that don’t just sit in the background as she sings her heart out, but instead instigate action that helps drive the plot. This is carried on through a musical motif given to the birds, connecting them with Ella on a deeper level. They’re her family, wanting to watch over her. My only real issue with the script were a few pieces here and there that felt like they played too young, even for a family show. Especially in comparison to what takes place near the end of the act, which cuts a lot closer to the original Grimm story.
The script is carried exceptionally by its cast who never dropped a beat. But I will say, something must have happened during the interval, as the second act felt like absolute magic, a massive step up compared to the first. Normally, I would mention an actor who stood out above the rest, but every time I think of one performance, my brain darts to another, then another. This is the first show in a long time where every single actor has been at the top of their game. But I do have to shout out Nicole Cooper, who recovered very well after a prop didn’t break on cue, improvising her way through it and got some extra laughs.
There’s a childlike wonder and handmade feel to the show, Francis O’Connor has created both sets and costumes that feel lived in but still with that fairytale flair. Using commonplace items that Ella would have used after being given the nickname Cinderella helps immerse the audience in her world without creating excessive set clutter that is common this time of year in theatre. Whilst the costumes create a sense of hierarchy throughout the story, Ella’s canary yellow dungarees not only evoking her personality but act as a stark contrast against her step-family, who are adorned in pinks, purples and greens. The step-siblings (Christina Gordon and Matthew Forbes) look like they’ve come straight from the set of a noughties kids show, that, along with their performance, gives off serious Sharpay and Ryan Evans vibes. The Queen (Carly Anderson), modelled after Jackie Kennedy, is the most chilled chaotic character to grace the stage, ironically adorned in red, white and blue. It would have been nice to have a little design connected to birds for Ella, however, the flamingos embroidered on the Prince’s ball waistcoat was a nice touch.
Music plays a strong role within the show. Besides the bird motif, there are songs scattered throughout, all are good, but sadly fall a little short of catchy, which could be a reason for a cast recording? Just saying. The two ensemble actors (Stephanie Cremona and Leo Shak) play a multitude of instruments throughout, proving that the word ensemble isn’t a downgrade in theatre. I’d also like to note the smooth jazz version of Christmas carols used during the ball scene. I wish I could tell you which one, but that’ll leave it as a surprise for those who see the show.
“Cinderella: A New Fairytale” proves that it’s still possible to do new takes on classic fairytales that aren’t pantomimes. The bright colours of Ella and the birds against the dull harsh backdrop create not just a visually pleasing production, but also showing that there’s always live, laugh and love in even the darkest of days.
Plays at Lyceum Edinburgh until 3 January 2026
★★★★
