Review of Cinderella at The Vaults: Sparkling with swagger, sass and unapologetic mayhem

Last year, actress Keira Knightley kicked up a storm, when she revealed that her little girl was banned from watching Disney princess films on account of their 'anti-feminist' undercurrent. Despite her reservations, I reckon even Knightley would be charmed by the latest, Cinderella adaptation to hit the stage at The Vaults Theatre. That being said, thanks to the copious swearing and crudity, this spectacle is not exactly what you would call PG.

Located below Waterloo station, The Vaults has earned a reputation as the speakeasy of theatre land, with its alternative and immersive entertainment. The first time I came across this graffitied venue was back in primary school, when my parents took my sister and I to see The Railway Children. I remember being utterly transfixed by the experience and I have been intending to return ever since. This panto season, I finally got round to doing so, by booking myself a ticket to their production of Cinderella.

When a show is produced by a company called Not Too Tame, you know it's going to be anything but conventional. Reflecting their 'break the mould' artistry, writer Luke Barnes toughens up the age-old classic in this adaptation, which is sparkling with swagger, sass and unapologetic mayhem.

Our story takes place in a traditional, English pub, redolent of Walford's Queen Vic and Weatherfield's Rovers Return. After her proprietor father dies, Cinders is left to run the boozer with her malevolent stepmother, unlovely step sisters and numerous other quirky characters.

Forming a 360 degree view of the pandemonium in all its pint-spilling glory, the in-the-round arrangement truly demolishes the 'fourth wall' between the actors and audience. Plus, the on-set bar means there is no need to buy your tipple beforehand. Simply wander onto the stage and wait to be served at any moment during the performance. If a glass of bubbles is not enough to loosen your inhibitions, then the karaoke should do the trick. From Bohemian Rhapsody to Dizzy Rascal, you'll be up on your feet, dancing in the aisles and singing your little heart out.

As well as the plotline, the cast list receives a serious refurbishment. Cinders is no longer the docile damsel in distress, but rather a feisty young woman who is not afraid to voice an opinion. The fairy godmother is a sequin clad, queer bloke named Mike. Prince Charming lacks both royal blood and charisma, instead resembling a narcissistic lothario from The Only Way Is Essex. Even Buttons the mouse gets recast as a dog depressed to the point of suicide, who spends the duration gnawing on a plastic leg (don't ask). For me, the stars of the show would have to be the twins, who had the audience in stitches with their crass remarks and Kat-Slaterish get-ups.

Rather than a black tie affair, Cinderella is hankering after an invite to her step sisters' party. The question is, will she make it and flirt with the guy she has her eye on? Or, could her happy ending lie elsewhere?

Admittedly, some of the punch lines may be a little un-2020 and in danger of causing the Woke-ometer to explode. However, if you are a sucker for dark humour, then you are sure to be cackling until the tears stream down your cheeks. Barnes' balance between poignancy and slapstick is well accomplished in this tale, where Eastenders meets Love Island, meets Rupaul's Drag Race. Furthermore, the karaoke element transforms this adaptation from a bog standard panto to a fully-fledged, party experience. All in all, a fun-filled evening, topped off with cocktails at The Oxo Tower and amazingly not even a hangover in the morning (I guess midnight magic is not just in fairy tales).

Cinderella plays at The Vaults until 12th January, with more shows to follow throughout the new year.