![]() ![]() The town is therefore stuck with Sebastian (puppyish newcomer Ivano Turco), his weedy little brother, whose only friend is Cinderella. Sadly for the adoring townspeople and their hilariously Marie Antoinette-ish Queen – a truly magnificent Rebecca Trehearn, shamelessly vamping her way through the best turn of the show – Charming is missing, presumed dead. She’s an unkempt goth who would appear to be the sole person in town to have any sense of humour: we meet her after the townspeople correctly deduce that she was the one who defaced a statue of Prince Charming, the town’s ultra-buff heir to the throne (it’s a small town with its own absolute monarchy, best just go with it). The only fly in the ointment is Cinderella (Carrie Hope Fletcher). With music by Webber, words by 2021 Academy Award winner Emerald Fennell and lyrics by David Zippel, it sets the Cinderella legend in the town Belleville, ‘a town so picturesque every other seems grotesque’ in which everybody and everything is impossibly beautiful, extra-stacked, and extremely shallow (so no ugly sisters… but ugly-on-the-inside sisters). And I can report back that ‘Cinderella’ is messy, but fun. ![]() Finally though, it’s here! No lockdown, no meteor, no pinging of cast members, no scrap with the government. The road to opening has been a particularly torturous one, for reasons too complicated to be explained here, but that can easiest be described as ‘covid-related’. Not so Andrew Lloyd Webber: I finally caught his new musical ‘Cinderella’ on what was technically the fifth opening night it had scheduled for 2021 (and bear in mind it was originally supposed to open in 2020). Generally speaking, if a show’s writer comes out at the start and says that he thinks the show will go ahead unless a meteor hits the theatre, you assume he’s joking about the meteor. ![]()
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