Cast, Crew & Reviews - Cinderella 2018


Cinderella  -  Harriett Jackson

Buttons  -  Joe Crisfield

Baron Horace Hardup  -  John Hallahan

Baroness Rubella Hardup  -  Jane Swale

Gertrude  -  Brian Turner

Griselda  -  Simon Vines

Prince Charming  -  Becky Crisfield

Dandini  -  Theresa Hallahan

Bodget  -  Ros Tunbridge

Leggett  -  Angie MacLean

Fairy  -  Sue Rider

Chambers  -  Andrew Mander          

Hagan the Horse  -  Rob Ryland & Maggi Coen

Royal DJ  -  Neil Tunbridge

Chorus  -  Maureen Davey, Maggi Coen, Simon Bucher-Jones

The Crew

Directors: Harriett Jackson, Joe Crisfield, Becky Crisfield

Production Manager: Alistair Kennard

Musical Director: Robert Randall

Stage Manager: Rob Ryland

Band: Robert Randall (MD/keys), Luke Stanley (guitar), Kirsten Pett (bass guitar), Desmond James (drums)

Choreographer: Becky Crisfield

Lighting & Sound (Design and Operation): Steve North, Julie Montgomery, supported by Alistair Kennard and Colin Burgess

Backstage team: Steve Bishop, Nick Gane, James Quinn, Vincent Quinn

Props: Simon Bucher-Jones

Set Design: Tony Dent

Set Build: Tony Dent, Alistair Kennard, Phil Rathbone and members and friends of the Pantoloons

Set Painting & Dressing: Barbara Dent, Carol Griffiths supported by John Hallahan, Theresa Hallahan, Harriett Jackson, Joe Crisfield, Becky Crisfield and Angie MacLean

Costumes: Barbara Dent, Carol Griffiths, Diana Quinn

Make up: Barbara Dent & Carol Griffiths

Prompt: Rosemary Stern & Hazel Mason

Box office: Rick Roberts & Vicky Biggs

Programme: Graeme Tunbridge & Vicky Biggs

Publicity: Committee

Front of house: Rick Roberts

Refreshments: Joe Crisfield, Becky Crisfield


Act 1

Prologue & Scene1: The village of Stoneybroke

Scene 2: Trading places- Front of tabs

Scene 3: The Royal Forest

Scene 4: Outside Hardship Hall

Scene5: The Kitchen

Scene 6: A magical moment

Act 2

The Palace Ballroom

Scene 2: Outside the Hall Again

Scene 3: On the way home

Scene 4: Back in the village

Scene5: An audience with Buttons

Scene 6: A Final Fond Farewell


Thanks go to the following individuals and organisations for their support:

Colin Burgess, The Mitre Players and Coulsdon Theatre Workshop - the loan of lighting equipment

Sanderstead  United Reformed Church - the loan of chairs

Coulsdon Theatre Workshop for loan of the pantomime horse and some dresses for the Ugly Sisters


NODA Review by Phil Wilcox, London Region Rep.

On this, my first visit to a Pantoloons production, I was made to feel very welcome by the two young ladies manning the ticket desk. A good initial impression. Equally welcoming were the soft pale blue warmers on the tabs, together with pink cloud and tree motifs as I took my seat in the hall.

From the pre-opening music onwards (played by a good-sounding three piece band under MD Robert Randall, who also played the keys), the choice of numbers, mixing contemporary pop with other hits, was imaginative throughout.

The opening scene, breaking away from the time-honoured line-up of cavorting human villagers, featured a whole array of birds and animals, ranging from a fox to an owl and a deer. My compliments to Bacardi (aka Barbara Dent, Carol Griffiths and Diana Quinn – what a neat acronym) who provided their costumes as well as all those featured in the show. My only criticism would be that Buttons (an impeccable, well-acted and sung performance by co-director Joe Crisfield) should really have been provided with a pair of braces to lift his concertina trousers.

Cinderella herself (Harriett Jackson), another of the no fewer than three co-directors whose combined efforts made for a good quality production, possesses a delightful singing voice, and put her character across very well. This panto had everything, including a line-dancing horse.  (A combined bouquet to Rob Ryland and Maggie Coen, two unsung, not to mention unseen, heroes who were very convincing, and should have been awarded the PHD (Pantomime Horse Diploma) alluded to in the script).

The essential accompanying “clip clop” effects, plus many others including a trumpet fanfare and that hard to pronounce tune from 2001: A Space Odysseywere in the capable hands of a four person combined sound and lighting design and operating team. Sets (designed by Tony Dent and created by him in conjunction withAlistair Kennard, PhilKennard and hard- working members and friends of the company) were well-painted and dressed (by Barbara Dent andCarol Griffiths, supported by a six-strong team). And what an ingenious idea to have them mounted on easily and speedily manoeuvrable castors. (The sets, that is, not the team).

In this production, author Alan Frayn has seemingly expanded Baron Hardup’s role, and has him addressing the audience directly. John Hallahan warmed to this approach, establishing a good relationship with the audience. Rubella, his other half (Jane Swale) was suitably odious (at least until the final scene), giving her all to the role.

And what can I say about the Ugly Sisters (Gertrude and Grizelda), played respectively by Brian Turner and Simon Vine,apart from absolutely superb. What a team! Both were having the time of their lives in dialogue and song, especially headmaster Simon, who homed in mercilessly on one of his unfortunate (male) teachers the night I attended. It was during one of their routines, incidentally, that I discovered that my excellent seat (thank you very much for arranging it), though fairly far back, was still within range of powerful water pistols!

The brokers’ men (or women in this instance) made a very effective double act, Ros Tunbridge and Angie MacLean, like several other cast members, making full use of entrances and exits through the body of the hall, interacting with members of the audience as they did so. Third “double act”, if I may describe them so, Prince Charming and Dandini (Becky Crisfield, third member of the co-directing triumvirate and Theresa Hallahan) were both excellent. The former had a tremendous singing voice and acted the part well, tongue firmly in cheek, with an expressive face and constant twinkle in her eye. A nice comic touch to have bothcharacters slapping their thighs, incidentally.

I also liked the obligatory kitchen slapstick scene, where the participants at various stages donned “Bake Off” face masks, sang a pastiche of Spice Up Your Lifeand did a hilarious

“slo mo” to the Space Odyssey music. The transformation scene which closed the enjoyable first half was brilliant in more ways than one, complete with luminous pumpkin and wheel. A feather in the collective cap of all concerned.

The Palace Ballroom scene opening Act 2 made good use of simple stage dressing, such as foil chandeliers and white material, and the versatile ensemble showed off their dancing prowess (cleverly choreographed by the versatileBecky Crisfield) in a medley of songs (with Royal DJ Neil Tunbridge strutting his stuff) ranging from The Time Warp to theMacarenaand YMCA. There was even some twerking, courtesy of the Uglies. Andrew Manders made his considerable stage presence (and booming voice) felt in his cameo role as Chambers.

The one jarring note, which happened on two occasions, was members of the company not waiting for the tabs to come down completely and thus being visible as they walked offstage, out of character. I also felt that, at least on the night I was present, the traditional front of tabs pre-finale scene didn’t quite come off. This was quite possibly down to the sheer number of kids on stage (I counted 12). It was a bit anti-climactic, with no song, but is no reflection on Buttons!

However, the finale company song, What A Picture, more than made up for any shortcomings – complete with new verse featuring “What a selfie” and, bringing things right up to date, “stick it in your Facebook album”. A great end to a great night.

The (very reasonably priced) programme, produced by Vicky Biggs and Graeme Tunbridge, could perhaps have contained some cast biogs and, as NODA members, should certainly have featured the latest NODA logo – which can be downloaded from the NODA website. (Sorry!)

All those involved in the show’s production, from make-up to backstage and front of house should pat themselves on the back – especially since money was raised during the run for two deserving charities.

The teaming of three directors is unique in my experience, but it paid off, and to do so andtake on major principal roles shows true professionalism.

I sincerely hope I will be invited to review next year’s “epic”. This year’s will take some beating!


Reviewed by Theo Spring

Following, more or less, the traditional tale this year albeit still a little quirky, the Pantoloons pulled out all the stops with very colourful costumes and sets that were elaborate and eye-catching.

Faces were familiar from previous productions, but new ones added to advantage.

Ingenuity produced an unusual and cleverly put together coach to bear Cinderella to the ball – constructed during a UV scene, it then surprised us by moving off, complete with its transformed passenger. Set design was by Tony Dent who then joined a team to construct, paint and dress the scenery.

The show was led by a team of three directors – Harriett Jackson and Joe and Becky Crisfield– all three of whom also took on roles.

Harriett created a lively Cinderella with a real ability to deliver some quite complicated vocals. Tuneful, certainly, but with a nod towards American pronunciation in some of the numbers. Choreographer Becky Crisfield as her Prince Charming gave the role more comedy than is traditional, sparkling up what can sometimes be a bit of a mundane character. Aided and abetted along these comedy lines, Theresa Hallahan brought additional comedy to Dandini, making them a complementing pair.

The show’s other excellent pair are, of course, the Ugly Sisters. Brian Turner’s Gertrude and Simon Vines’ Grizelda were both suitably outrageous and both exceptionally well costumed. In tune with their genre, both ‘dames’ were able to support each other, in character, through the odd forgotten line as well as the odd heckle from the audience.

Keeping to tradition, Joe Crisfield as Buttons immediately won over his audience with his unrequited love for Cinders. The wording of his request for help to protect his favourite toy bunny from thieves was, perhaps, a little too complicated to remember, but the main call for ‘Buttons’ saved the day even if the rest of the sentence did not materialise.

Often only referred to but not seen, in this show Baroness Hardup certainly made her presence felt with Jane Swale giving her a touch of malevolence whilst John Hallahan as Baron Hardup rather shone in the role with an excellent stage presence.

Helping to keep the unending and sometimes very witty jokes rolling, the Brokers Men added a small off-shoot from the tale, reflecting the current obsession with building inappropriately-sized buildings in the local area. Angie MacLean and Ros Tunbridge created Leggett and Bodget to a fine degree.

Beautifully dressed and bewigged, Sue Rider as Fairy G delivered her rhyming couplets with finesse. Her powerful magic conjured up Cinderella’s horse Hagan to pull the pumpkin coach, with Rob Ryland and Maggi Coen inside the skin. Other animals made appearances – first in the opening scene and at what seemed to be ad hoc moments during the show. It was a wolf, though, who helped provide scary moments in the Royal Forest.

Musical numbers came from a variety of eras and musicals. It was fun to see the Time Warp get an airing but the vocals, choreography and finish for Flash Bang Wallop definitely won ‘best in show’.

The large cast were supplemented by small cameo roles and a hard-working chorus but, as always with such productions, the list of names on the ‘Crew’ side of the programme was much longer. MD Robert Randall oversaw a small band and Alistair Kennard was Production Manager. Those excellent costumes were created by the team of three, collectively known as Bacardi.

It is the Pantoloons continuing tradition to support charities through their shows. This year they chose the Epsom-based MERU which makes bespoke kit for disabled children and the Daniel Spargo-Mabbs Foundation which alerts young people to the danger of drugs, both benefit.

An evening of good fun and a charitable outcome – what more could we ask for to cheer a rather horrid damp January day.