Sometimes it’s fun to go to the theatre and watch a high-camp, brightly coloured musical, but in this case the confused political slant muddles things. It’s a shame because, for sheer spectacle, you won’t get a more impressive show.
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And Carrie Hope Fletcher fits into this role as if it was made for her, which it seems to have been. Her grunge-punk princess is more Olivia Rodrigo than Disney, and Fletcher excels equally on emotional ballads and angry duets.
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But as a rule, none of this stuff feels very coherent...Nonetheless: it really is fun. Aside from Fennell’s witty lines and a clutch of great performances from Trehearn, Fletcher et al, it looks great.
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Cinderella has a terrific palette of songs, a snappy contemporary edge, and a star – Carrie Hope Fletcher – whose voice is both beautiful and powerful enough to knock down walls.
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It’s the cast that carries the show: Carrie Hope Fletcher takes the lead and stomps around the stage in DMs with a brilliant ease. She catches the timing of Fennell’s comic lines, and her voice is ideal: strident, loud and occasionally fragile.
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But the ambition in taking on one of the most loved fairytales of all, one we’re pretty much born knowing, and reconstructing it for the 21st century, is lost in a book that cannot resolve the contradictions inherent in its avowed iconoclasm. In that sense at least, the shoe doesn’t fit.
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Having seen Cinderella in previews, let me tell you what our joy-starved public is being denied...It has catchy songs, fabulous wigs, witty lyrics by David Zippel and revolving stalls that gives punters a ride during a luxuriant waltz.
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Nevertheless, it would be churlish to welcome this Cinderella with anything other than pleasure. It was worth waiting for.
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