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The Review - THEATRE by SIMON WROE
Published: 29 November 2007
 
Kids having a ball with the Cinderella puppets

CINDERELLA

LITTLE ANGEL THEATRE

HULLABALOO might best describe the noise in the Little Angel’s cosy auditorium preceeding Cinderella last week: dozens of children rhubarbed excitedly in the stalls, casting theatre’s usual propriety to the wind.
But as soon as the lights went down and the puppets (initially simple block maquettes) took the stage, the predominantly young audience fell into rapt silence.
The story of a beautiful young girl kept in slavery by her evil stepmother and two ugly sisters needs no recounting, and both children and their adult guests know who the Prince falls in love with at the ball, the abandoned glass slipper and the eventual happily ever after.
It’s a familiar tale, but one director Steve Tiplady conclusively makes his own. His sparing, evocative delineation brings the story to bear without need for dialogue or explanative tricks: Cinderella’s passing childhood is depicted by a paper tree replaced with larger trees over time, the changing of the seasons signified by a red leaf instead of a green.
As Cinderella reaches maturity, the maquettes are upgraded to rod-operated puppets, rendered in often grotesque detail by maker Peter O’Rourke. By the time her story is told, she and her companions have been depicted by marionettes and shadow puppets as well.
The screeching banshee double act of the ugly sisters is a particular delight, and when the Prince’s servant (played by one of the show’s four superb operators) sashayed through the auditorium trying the slipper on the feet of audience members the first Islington under-10s riot very nearly kicked off.
There’s just one thing I’m confused about: why do the English operators speak in French?
Until January 27
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