*****

THE Opera House’s production of Cinderella is ensured a successful run. There’s modernity with echoes of X-Factor, traditional audience engagement, a real Shetland pony, garish costumes, a mix of (too-often mediocre) songs, and, of course, something for the adults. All perform to expectations, including the audience, whose ‘behind you’s and ‘Oh No’/‘Oh Yes’s are delivered with aplomb.

There’s a good deal of sniffiness about panto, and also about ice-skating

However, this is a modern Cinderella: even fairies have recognized that modern day child development isn’t entirely in female hands, and Cinders now has a fairy godfather, Christopher Dean as King Crispin, as well as the expected fairy godmother, Jayne Torvill as Queen Juniper.

I’d wisely taken along two eight year olds. They’re the barometer for pantos, and also the catalyst to your own enjoyment.

The show opens, X-Factor style, with a countdown and a soundtrack snippet of Carmina Burana, and we’re into the standard rags to riches story. Eloise Davies as an early career Cinderella, gives a strong performance without overplaying the sob-story, while Liam Doyle, winner of GMTV’s High School Musical competition, sings charmingly as you'd expect in the role of Prince Charming, and has a strong presence in a role which is often less visible.

Dave Lynn and Tim Hudson are an entertaining little-and-large pairing of Ugly Sisters, Rita and Cheryl. They exploit all their opportunities, flaunt their costumes, and so enjoy their ability to entertain that audience boos seem almost reluctant.

Andre Vincent’s Buttons is said to be fond of salad. That’s a chip salad with a side order of pie. As a result he’s not the usual Buttons, often played by a slight, young man appearing little older than the kids in the audience. Consequently he has more work to do to capture the children’s trust; but he achieves this and proves key to two sharp and delightful pieces, the ‘Who, What, Don’t Know’ sketch and the chocolate brand sketch. The writing and performances in these would hold their own in any comedy medium.

Samuel Holmes’ Dandini is absolutely delightful. Both camp and manly, I think Dandini is made for Manchester. He opens act two with a show-stopping version of Feeling Good, originally made famous by Nina Simone.

Writer Eric Potts has provided his young audience with a well-structured approach to the story with built-in appeal for all ages. He’s also provided the cast with an opportunity to showcase their best bits, without deviating from either plot or entertainment value. It’s a canny approach. Let’s hope the casting directors come watch.

 

So how do Torvill and Dean fit in? Initially with some difficulty. There’s a devised scheme for their onstage appearances, where they’re supposedly invisible to all but Cinders, initially though it feels a little false. Torvill and Dean deliver their lines with perfect clarity, but they aren’t actors (it'd be unfair if God had granted them that talent too). I expect they’ll be far more comfortable after a few matinees, and some 11.00am starts. But they’re intensely likeable and non-showy, with a natural charm that shines through; Christopher Dean retains, even enhances his charm, while correcting a misline fumble.

What is outstanding is their skating. Fortunately they’re using a newfangled type of skate which mimics the ‘edges’ of ice-skates yet works on any smooth surface (a rollerblade? Ed.), so the whole of the stage is available to them. Nevertheless it’s a cramped space, so they can’t dream of the speed they once achieved in the What’s-It-Now-Called-Arena years ago. Still, the manoeuvers, so effortless, so smooth, are made to look effortless.

The showstopper comes towards the end. Teased by the appearance of those purple costumes, the older contingent of the audience is wondering how their famous Bolero will appear. The answer? Differently. But still very, very impressive. It’s difficult to believe their Olympics triumph was over 30 years ago. I expect it’s the magic of a training regime, rather than the magic of panto, but I’m prepared to suspend my belief for the night.

In fact the whole of the second act is really strong. Now that the pony’s been and gone everyone seems to have relaxed. We know the story, so entertainment values rule. I’d have liked a more conventional wedding scene rather than the red, gold and silver palette of the final costumes. Were Tunnocks sponsoring?

I consult my eight-year-old companions for an expert view. Lulu (intended career: actress) had lots of best bits and the experience has confirmed her career choice, while Erin (intended career: dance teacher), particularly admired the faux-ice-dancing. Both were enraptured by the real Shetland pony, and shouted, booed and cheered with gusto.

There’s no doubt the panto tradition is alive and well in these hands, and of course the modern intrusions are all part of the tradition. I thought that Torvill and Dean added to the glamour and gave the grannies something to remember.

There’s a good deal of sniffiness about panto, and also about ice-skating. Some were surprised to hear I was covering this show, but I was just as excited as the kids. If Torvill and Dean had hailed from Manchester rather than Nottingham we’d be celebrating their pioneering achievements at every turn, axel and salchow; they really did change the face of ice-dance and are part of the emotional fabric of the nation. They’ve just had a slight career change, is all.

Cinderella runs at Manchester Opera House until 3 Jan. Performance times vary.