Review: Cinderella – The Socially Distanced Ball

It’s behind you. The Turbine lunges for the adult panto market with the brief if raucous fun of Cinderella – The Socially Distanced Ball

“Are you ready for some good old-fashioned family fun?
Well you’re in the wrong fucking place”

Just a quickie for this as you pretty much already know whether you like pantomime or not and heaven knows, Cinderella – The Socially Distanced Ball isn’t the show that is going to change your mind about that. There’s been a rise in these adult pantos which in some ways are a no brainer, catering to a festive audience who want to drink merrily without children running in the aisles, but there’s a real skill to the best panto writing that locates a sweet spot of humour that can hit home for both adults and kids.

This Cinderella, penned by Jodie Prenger and Neil Hurst, makes no pretence at finding such a balance, it is proudly full-on smut from the word go and the highly game company, directed by Lizzy Connolly, throw themselves whole-heartedly into the filthy frolics and profane prose. Cut down to just over an hour and six characters, there’s barely time for the show to outstay its welcome and a nifty song and dance or two offers ample opportunity for the players to shine, particularly Scott Paige and Oscar Conlon-Morrey’s wonderfully vile Ugly Sisters.

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