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.
