It's the latest festive romp from Nottingham's Theatre Royal, starring Craig Revel Horwood as the Wicked Stepmother...
The moment you take your seat at Nottingham’s Theatre Royal, you know you’re in for a magical treat. Snowflakes and sparkles dust the walls and stage like icing sugar on a showstopper. A soft shimmer hangs in the air, promising the familiar pull of a fairytale - yet this production quickly proves it’s far more than a simple retelling.
This Cinderella is recognisable, yes, but it’s also refreshingly reimagined. It delivers comfort in its classic story beats while surprising you with clever twists, impeccable craft, and an infectious sense of fun.
The production values are nothing short of sumptuous: daring, jewel-bright costumes; razor-sharp ensemble choreography (well, they’d need to be sharp if they’re keeping up with a Strictly Come Dancing judge); and props paired with a versatile, delightfully whimsical set that transports us from enchanted woodland to glittering palace ballroom.
Of course, many in the audience have come for one person: Craig Revel Horwood. Traditionally, the villainous stepmother’s entrance at a family panto earns a round of boos - but Craig’s take on the Baroness Hardup is too irresistible, too fabulously over the top to provoke anything other than cheers, squeals and delighted applause. Camp, commanding and dazzling from feathered headdress to rhinestone boot, he wins the crowd instantly.
Craig’s performance is, in his own immortal three words, FAB. YOU. LOS. He leans wholeheartedly into delicious nastiness, elevating it with a touch of Strictly sparkle: scorecards, judge references, familiar music cues—and, naturally, a whirl of his own dancing feet, including a salsa-spin sequence. Yet, what makes him especially endearing is his willingness to poke fun at himself. He throws out cheeky jokes and fully embraces his drag-queen diva energy.
The production brands itself as “the fairy godmother of all pantos,” and thanks to Christina Bianco, it lives up to that title. Often a side character, the Fairy Godmother becomes a star in her own right here. Bianco’s energy is electric—her wand flicks with purpose, her presence crackles with charm. Her talent for impressions is woven cleverly into the role, particularly during a show-stopping rendition of Tomorrow, in which she cycles through vocal tributes to some of the world’s most iconic singers from Cher to Britney Spears. It’s hilarious, clever, and musically impressive.
And whilst we’re praising great vocals, hats off to Elly Jay (Cinderella) and Daniel Norford (Dandini) for their lovable personas and wonderfully charismatic, strong duets.
This panto also delivers its surprises. Without giving too much away, Cinderella’s journey to the ball features a breathtaking horse and carriage moment that feels genuinely enchanting, and an unexpected creature springs to life in a way that especially delights children.
The humour, though, might be the show’s strongest spell. Neil Hurst, as the ever-lovable Buttons, proves himself a master of comedy. His timing is impeccable, his warmth undeniable, and his jokes hit the full spectrum—from gentle giggles for the little ones to razor-sharp wit for the grown-ups. The script, penned by Harry Michaels and Alan McHugh, crackles with wordplay, physical comedy and local references that send the Nottingham crowd into fits of laughter - the deep, belly-aching kind you feel in your ribs and jaw.
A masterclass in modern panto: joyful, unapologetically larger-than-life, and polished to perfection without ever losing its heart or spontaneity. It’s fully alive with festive spirit, glittering from start to finish. An undeniable five-star triumph, more than worthy of taking pride of place atop the Christmas tree.
Cinderella plays at the Theatre Royal Nottingham until Sunday 4 January 2026.
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