A glittering Cinderella filled with star power, laughter and classic panto magic proves Richmond Theatre remains a true festive favourite.
OUR VERDICT
I’ve been going to Richmond Theatre’s panto since I was young enough to believe that the Fairy Godmother might actually magically appear in order to grant my wishes.
Over the years, there have been highs, lows and the occasional pumpkin of a production, but this year’s Cinderella is anything but. The beautiful theatre’s 2025 offering sparkles with enough charm and energy to make even the most jaded grown-up believe in a little magic again.
Ian Olsson
There are not one but three star names, each adding its own shine. Call The Midwife’s Helen George sparkles as a graceful Fairy Godmother, musical theatre marvel Charlie Stemp gives a buoyant and brilliant Buttons, and the one and only Basil Brush brings his irresistible charm to Baron Basil.
Pantomime legend Gary Wilmot directs this year’s impressive production, and it shows.
He has brought an unmistakable calibre to proceedings, and everything has been thrown at it, from eye-popping costumes and Stephen Mear’s slick choreography to glittering sets and dazzling special effects.
Ian Olsson
There’s even a pair of beautiful Shetland ponies waiting to pull Cinderella’s enchanted carriage. It is charming, traditional panto at its best.
The opening group number – Petula Clark’s ‘Downtown’ – has been cleverly reworked and immediately shows off the talents of the charismatic ensemble. “When you're alone, and life is making you lonely, you can always go to… Richmond” earns well-deserved cheers of approval.
There are a few fusty gags, but mostly it canters along at great speed and is filled with humour, energy and fun. There are plenty of highlights along the way. Classic panto routines such as the tongue twister scene and slapstick favourite “Something Else I’d Like to Be” are slickly delivered and very, very funny.
West End stars Stephen Guarino and Jak Allen Anderson are superb as the money and man-obsessed Wicked Stepsisters, Hernia and Verruca Hardup.
Ian Olsson
They are gloriously, captivatingly awful, combining sharp comic timing with a kind of mesmerising physicality as they hurl insults at ‘Tinderella’ and ‘Buttocks’. Their costumes and makeup provide some of the evening’s most memorable visual delights.
Helen George occasionally looks a little like a deer in headlights, but is otherwise a delightful Fairy Godmother with warmth, humour and several genuinely magical moments.
Charlie Stemp as Buttons is a standout. His talent is palpable, and the audience, young and old, love him from the start. His dance off with Dandini (Michael Lin on superb form) practically raises the roof, and his gentle “Am I So Difficult to Love” is unexpectedly touching.
And of course, Basil ‘boom boom’ Brush is an icon for a reason. He is charming, witty and utterly lovable.
Ian Olsson
His emergency slide and elevator demonstrations are particularly memorable as he sinks into his box and announces, “oh, there’s a man in here”. His Frozen gag lands perfectly, and he is a joy throughout, particularly in the tongue twister scene.
Tom Major is a charming Prince Charming, and panto returner Hope Dawe sparkles as Cinders. They share a sweet and surprisingly elegant rendition of “Everything I Do, I Do It for You”, with any hint of cheesiness delightfully punctured by Buttons’ eager interruptions, which soon erupt into full-on fisticuffs.
Ian Olsson
There are dancing pumpkins and polar bears, flying invitations, toe-tapping tunes (from a fantastic live orchestra) and a company brimming with talent and infectious energy.
This is what a panto should be: a glittering celebration of festive theatre that leaves the audience beaming.
Richmond’s Cinderella does not just revive the magic; it reminds you why, year after year, it is worth returning to that ornate, velvet-seated auditorium to believe in happily ever afters all over again.
Cinderella at Richmond Theatre is on now until January 4. Tickets from £15 subject to a transaction fee of £3.95. atgtickets.com
