Cinderella and the Matzo Ball at JW3 Review
Written by Stephen Gilchrist for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
The Jewish community, of whom I confess to be part, has always been adept at making fun of itself, and you do not need to look across the Pond to Mel Brooks or Larry David for confirmation. Think Friday Night Dinner on the telly. And the community making fun of itself, of course, includes our little foibles and eccentricities of which there are many, and which have been the subject of caricature and comedy for eons. There is a rich history of such going back to 19th century satiric Yiddish theatre.
As far as I could see, not one such exaggerated Jewish characteristic has been left untouched, pun free, or subjected to the common parlance of Yiddish expressions in Nick Cassenbaum’s take on Cinderella. Everyone lives in the Kosher Kingdom, ruled by a Prince Charming (whose family name was, of course, Charminski, before it was changed for obvious reasons). Cinderella and her sisters work in a bakery called Breadzinski (a take on the well-known kosher bakers, Grodzinski). The music in the show has been curated from music and songs, all of which are associated with Jewish writers or performers. The lyrics have been adapted to include references which would be familiar to those of us who are suburban middle of the road Jews, that is to say those who culturally, rather than religiously, attach to their faith. The programme, in fact, has a glossary of no less than fifty-four Yiddish expressions translated for the uninitiated. Musically, as you can expect, there are show tunes, popular songs, and a glittering g finale of Yiddish music.
This is the third year JW3 (a Jewish cultural centre in Northwest London) has produced a panto, and I confess not to have seen Cinderella’s predecessors. This presentation certainly has its moments, albeit that the production is a bit of a ramshackle affair. It is a modest show, but well suited to the venue, with a cast of seven and an onstage band of three under the direction of Josh Middleton. The scenic and costume design is stripped down and so the fun is in the text and performance. All the elements of traditional panto make guest appearances: a chase, a ghost scene, a singalong, sweets thrown at the audience, and some broad comedy. Under Abigail Anderson’s direction most of it is handled capably if less than what one would describe as ‘slick’.
The company consists of some young talent, and for the most part the performances are enthusiastic if sometimes variable in dramatic accomplishment. I particularly enjoyed Talya Soames’s sparky and bouncy Buttons and Talia Pick’s plucky Cinderella, who both engaged well with an appreciative audience. The ensemble sings and moves with some relish and are anxious to please.
And talking about guest appearances, the broadcaster Emma Barnett appears periodically on audio as a reporter on the ‘Ten O’clock Jews’ (from which you may discern the nature and style of the writing) and the always wonderful Debbie Chazen is on video as ‘Fairy Cake’. Even on video, her appearance rather shows up some of the occasional inadequacies of the live cast members.
I do not want to be unduly critical of this rather self effacing and unpretentious show. I thought it was fun and the audience loved it, but then I and most of the paying customers were obviously of ‘the tribe’ and appreciated the well intended pokes of fun at themselves. In short you do not have to be Jewish to enjoy Cinderella and the Matzo Ball, but it certainly helps.
Plays until 4 January 2026
★ ★ ★
