Norwich’s 2025 Pantomime “Cinderella”: A Beach-Themed Fairytale with Mixed Results
Norwich’s Theatre Royal is bringing a unique spin to the classic Cinderella tale with their 2025 pantomime production. Written by Joe Tracini and directed by Andrew Lynford, this reimagined version transports audiences to the fictional seaside town of Crabbington Sands. In this coastal setting, Cinderella (played by Georgie May Foote) is trapped in the old hotel her deceased parents once operated, under the tyranny of her wicked sisters, Lou (Owen Evans) and Lav (Kenny Moore). The show follows the traditional Cinderella arc but with a beachy twist – when Cinderella manages to escape for a day, she encounters and falls for the Prince (Danny Hatchard), setting in motion her journey toward happiness with assistance from her loyal friend Buttons (Joe Tracini) and her Fairy Godmother (Hannah-Jane Fox). The production opens with a memorable entrance as the Fairy Godmother descends to the stage in a bubble reminiscent of Glinda from Wicked, much to the delight of younger audience members. This retiring fairy’s charming struggle with rhyming couplets provides an entertaining introduction before the curtain rises to reveal the vibrant, colorful beach-themed world created by Scenic Projects’ set design.
The production benefits from Aimee Leigh’s bright, energetic choreography, beautifully executed by an enthusiastic ensemble (Joseph Brownlie-Johnson, Blair Cameron, Thomas Gotobed, Holly Houseman, Eve Leoni, Josh Peberday, Misty May Tindall, and Pele Yeardwood). Cinderella’s opening number “Unwritten” effectively conveys her yearning for life beyond the confining hotel walls. However, despite the intriguing beach setting and the premise of Cinderella fighting to reopen the Hardup Hotel, these elements quickly fade into the background, only sporadically referenced before the finale with its impressive pier-style set. Among the musical highlights is a standout duet between the Prince and his assistant Dandini, portrayed by Jeevan Braich, whose talents shine despite limited stage time, leaving audiences wondering why he wasn’t cast in the principal role instead. The production makes surprisingly few references to Norwich itself, with a mention of the Wicked Sisters shopping at Jarrolds Department Store being one of the only local nods that audience members might recognize.
The pantomime seems caught between different tones and styles, creating an uneven experience. At times, it holds back on the traditional innuendos and adult humor that pantomime audiences expect (though the few included jokes land well, particularly a quip about one of the Wicked Sisters “catching crabs”). Yet contradictorily, Cinderella performs Remember Monday’s more mature song “What The Hell Just Happened?” This tonal inconsistency suggests a production uncertain of its direction – sometimes embracing over-the-top pantomime traditions while at other moments appearing surprisingly restrained in its approach to the genre’s characteristic silliness. This wavering identity makes it difficult for the show to establish a clear personality and consistent energy level throughout its runtime.
Another problematic element is the characterization of Buttons, who comes across as somewhat uncomfortable in this particular interpretation. His character seems one-dimensionally fixated on his unrequited love for Cinderella, even explicitly acknowledging the age gap with the line “I’ve got absolutely no rizz because I’m 37,” yet failing to develop beyond this obsession. Joe Tracini’s performance style, with forced breaks after delivering jokes, contrasts unfavorably with the more natural and genuinely funny moments when other cast members involuntarily break character. This approach to the traditionally beloved character of Buttons feels misaligned with contemporary audience expectations and somewhat undermines what should be a heartwarming friendship at the core of the story.
The production noticeably loses momentum after the interval, frontloading most of its high-energy musical numbers in the early moments of the Prince’s ball scene. The remainder of the second act becomes a somewhat predictable chase as the Prince embarks on his quest to find his mysterious love interest, performing “The Shoe Must Go On” – a clever title for a somewhat standard sequence. The pacing issues become more apparent with extended segments including a lengthy birthday shoutout and an audience singalong centered around the oddly off-topic “Wiggly Woo” song. Despite these pacing problems, the production does conclude on a positive note with a heartwarming message affirming that everyone is enough just as they are – a sweet sentiment for audiences to take home as they leave the theater after the performance.
Overall, Norwich’s Cinderella offers a serviceable pantomime experience suitable for all ages, showcasing some undeniably talented performers, but it struggles with narrative focus and thematic consistency. The beach setting, which initially seems like a creative reimagining of the classic tale, never fully integrates with the traditional Cinderella story elements. The production’s inability to commit to a clear tone and style – whether that’s traditional pantomime exuberance or a more modern family-friendly approach – prevents it from making a distinctive mark in this season’s pantomime offerings. Despite these shortcomings, there are enjoyable moments throughout, and the production’s heart is in the right place, particularly with its affirming final message. Audiences have until January 4, 2026, to catch this beachside Cinderella at Theatre Royal Norwich, where despite its flaws, families can still find entertainment value in this coastal take on a beloved fairytale classic.
