Cinderella at Birmingham Old Rep Review
Written by Emily for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Staging a pantomime is a deceptively difficult task. It carries layers of expectation: families arrive hoping for big laughs, bright spectacle and a familiar story delivered with just the right mix of tradition and playful reinvention. It’s a form that looks joyous and effortless onstage precisely because it demands such precision beneath the surface.
BOA Group’s Cinderella certainly shows the effort and commitment behind the production, with a clear sense of local pride woven throughout. It’s refreshing to see a panto not only performed in Birmingham but rooted in it, with Brummie and Black Country accents celebrated rather than ironed out. This grounding gives the show an immediate charm and helps it feel connected to its audience.
The storytelling, however, leans that bit too heavily on preamble. Cinderella is one of the best-known tales in the canon, yet the opening section spends far too long explaining the plot in detail before the action even begins. This slows the momentum and delays the fun that usually sweeps an audience in from the start.
Musically, the chorus harmonies are warm and enjoyable, though the movement is very simple. However, the sound balance lets the musical numbers down: principal microphones sit just below the level needed, causing much of the dialogue and lyrics to be lost under the music. Songs like “Good Morning Birmingham”, a parody of such an iconic musical number, rely on crisp lyric delivery to land, but when words are lost, the impact dips noticeably and we are left with a slightly flat opening.
Comedy in panto is also always a tricky balance, and though there’s clearly good intention behind the humour in this show, like several references to the Birmingham bin strikes, it doesn’t always land. The performances, though, offer plenty to enjoy. The stepsisters (Sam Yetunde and Victoria Tew) are a particular highlight, reimagined through a Kardashian-inspired lens that cleverly updates the classic “ugly sibling” trope. Their bold, garish costumes align perfectly with their social-media-obsessed personas. Kudos here to Leanne Fitchett and her designs. Julie Ann Baker as Baroness Hardup also brings a commanding, satisfyingly villainous presence to the stage, dominating her scenes with ease and a robotic twist on the classic evil stepmother character.
Jaiden Tsang and Stefan Davis share a lovely chemistry as Cinderella and the Prince, and their dance-centred connection is a welcome modernisation. Framing their attraction through shared joy rather than a single magical encounter gives their relationship more depth and allows both performers to shine.
Despite its uneven moments, the production radiates enthusiasm. Pantomime is, at heart, a celebration – of community, creativity, and a young company learning their craft in front of an audience eager to cheer them on. And in that spirit, Cinderella succeeds: it brings people together, delivers some lovely moments, and fills the theatre with the unmistakable buzz of students giving their all onstage.
Plays until December 31st 2025.
★ ★ ★
