Review: Cinderella at the Opera House is ‘brimming with heart and humour’

Pantomime is such a curious and quirky institution, as it has key ingredients which the audience expect and would demand, if they were not included.

And the one thing that keeps an audience entertained in a panto is a bunch of gags which keep on coming. From dad jokes, slapstick comedy, and references to shows and songs that the audience recognise.

The Opera House is on to a winner with the double act of Jason Manford and Ben Nickless, and they are back this year, as Prince Charming (yep, he knows it’s ridiculous too and sends up the idea) and Buttons.

Cinderella at the Opera House

In the tradition of Morecambe and Wise and a bit of Cannon and Ball, these two base themselves on the ‘straight man’ and ‘funny man’ combo. And Manford has a short stand-up routine, and Nickless gets the chance to do some quick-fire impersonations.

There is a plot in there too, somewhere and some supporting characters who do manage to get a look in. Myra DuBois is the perfect villainess, as she knows how to handle an audience, having played the Vauxhall Tavern and many other venues across the UK.

A visit to Wythenshawe

She has a ball and pitches the role as Alexis Carrington visiting Wythenshawe, and she is bloody brilliant.

Wendy Mae Brown brings warmth and great vocals as the Fairy Godmother and Sarah Vaughan has the difficult job of playing it mainly straight, in the company of the funny triple act. And she copes admirably well, making the audience believe she is Cinders who has to leg it on the stroke of midnight.

Liz Carney and Chloe Chesworth as the Ugly Sisters

Liz Carney and Chloe Chesworth are great as the Ugly Sisters, I just wish they had more stage time with Mommie Dearest, Myra DuBois. The ensemble, Phoebe Coray, Tilly May Padley, Harry Parkinson, Kitty Rich, Owen Richardson, Tianna Sealy-Jewiss, Eddie Sims and Jaden Wilkson are all excellent, as they are incredibly versatile, kicking ass as Gladiators one minute, dancing to Garry Lloyd’s sweeping choreography and filling the stage with vibrancy the next.

Jason Manford and Ben Nickless

Manford and Nickless love working together, and it shows, they both embrace the panto traditions and more and have a natural ability to connect with an audience, night after night and keep it fresh and never phoning it in.

 If you have seen a panto with these two before, you will realise that some of the jokes from Gary Lloyd and co-written by them have been seen before.

But you won’t care, as it is all about the timing. And with the combined efforts of Myra DuBois, these three should work for Royal Mail, as they all know how to deliver.

The show features references to Gogglebox, The Traitors and Strictly, and many of these come at you a fast pace. It would benefit from a few more Manchester references, to give it a local feel. It is set in Mancunia, after all?

The twins FX bring the awe and spectacle at the end of act one, as Cinderella gets to the ball at speed, complete with a horse drawn carriage that flies.

Act One is a little too long and I could see a few restless little ones. But the gags do keep on coming and the double entendres during a bird watching sketch are so fast and furiously funny that even a guest appearance from Vin Diesel could not top this.

Kudos to Jason Manford, Ben Nickless and Myra DuBois for their ability to keep the momentum going during this tantalising tongue twister.

If you love the kids coming up onto the stage for a singalong/play along sketch as much as I do, it’s back and the usual unpredictability of children’s behaviour and reactions will have you in stitches.

At the end of a busy year, everyone needs a good laugh with family or friends. You get that and more with Cinderella. It might follow a panto formula that you have seen before but if the glass slipper fits and leaves you with a huge smile on your face, why change it?

Tickets for Cinderella at the Opera House

Cinderella is at the Opera House until 5^th January and can be booked here