After seeing them several times now, nothing about Birmingham Youth Theatre (BYT) should surprise me, however, each time that I do, the excellence raises another level. And this was again the case with their January 2023 pantomime, Cinderella.

I’m not going to waste words on the plot; it’s Cinderella, for heaven’s sake. However, every version written is individual and this one by Joe Logan was top-drawer. As a writer myself, I praised Logan last year and once again we had a well-written (and extremely funny) script. Contemporary in style but keeping pantomime elements audiences have loved for years.

When recently reviewing Dick Whittington at the Birmingham Hippodrome, I spoke about the differences between professional pantomimes, boasting named stars, and the amateur equivalents. I can honestly say, although both excellent, I cannot separate which I enjoyed best, nor which was the more polished. Because from the opening company number in Cinderella, Get on Your Feet led by Lola Harper as Cinderella, quality oozed from the stage and into the auditorium. And it’s Harper in the title role I must praise first. What a voice! Strong and controlled, superb in Easy on Me and (Ed Sheeran’s) Perfect, duetting in the latter with the equally outstanding Luke Griffiths (Prince Charming).

One of the things I love about BYT is their inclusion and versatility. Last year Lily-Mae Nicholls was “wonderfully evil,” while Maddison Clarke took on the comic fairy role. This time roles reversed with Nicholls as (the not too competent) Fairy Non-Bio, whereas Clarke ranked high in the villainous stakes in the part of the Baroness. Clarke, on the day, gave a great rendition of Confident and Nicholls did likewise at the end of Act One in a superb version of You Will Be Found with Cinderella and the Dance Team.

People who read me will know I have modern views about the portrayal of Pantomime Dames and once again I am delighted with what I saw. Gone, thankfully, are the days where we would laugh at the ugly, hairy-chested man in a dress, now having more trans sympathetic portrayals. Caedon O’Malley (Stacey) and Rhys Bishop (Tracey) were as good as anyone I have seen in such roles. In fact, so well were their characterisations, I had accepted them as female from the off and forgotten the actors were men by Act Two. Juice was amazing and both O’Malley and Bishop in this performance engaged the audience like professionals.

Unless you mess around with the traditional plot (Yes … I did in 2021), Cinderella is full of unrequited love. This time, it wasn’t only Buttons, but Dandini as well. David Morrison was a wonderful Buttons, full of energy and like the dames, interacting well with the audience. There was confidence great to see from one so young and What Makes You Beautiful was as good as any number on the day. The unfortunate Dandini, on the other hand, was portrayed by Carter Evans who made the character his own and I Can Hear the Bells was one of the best songs in the show.

Once again playing a monarch was Dylan O’Connor as the bombastic King Bernard. He gave a good showing in the other Perfect, this time the Fairground Attraction one before duetting well in Act Two with Carter Evans during a poignant Let Him Go. Then we also had great comic foils in Bish, Bash and Bosh (Harrison Doherty, Charlie McRoberts and Andrew Morrison) trying to be a One Direction Tribute but singing a Backstreet Boys song in Everybody instead.

Another of my top numbers in the show was Hammer to Fall. Let’s face it, you can never have enough Queen. This was excellent from Lucie Holcroft (Fairy Nuff) and Charlie Bland (Mysterious Figure, revealed to be Baron Hardup). And if one can’t have enough Queen, there is always room for Abba as well and favourite of the night for me was Angel Eyes (Lola Harper, Caedon O’Malley, Rhys Bishop and Company).

Other named principals were the excellent Saran Sambhi (Principal Godmother), Kitty Smart and Amelia Jennings (Masters of Ceremonies with some witty one liners), Marni Carroll (OAP Princess, proving again how good she is at these comic cameos) and Josh Mills (The Troll with excellent timing). Duos inside the animals were Niamh Flannagan and Sophie Terry (Moo Moo) with Abigail Bell and Cat Allsop (White Horse).

As well as writing a brilliant script, Joe Logan was also choreographer and the results on view were well above what you would expect for a youth company. You must remember, all these kids are 19 and under. Ellie Johnstone and Olivia Jefferson were dance captains to the highly talented team of Beatrice Roberts, Bella Hoppner, Hannah Allsop, Ruby Blount, Tabitha Vlok and Tegan Lynch. I particularly liked their movement as the trees in the forest, finding it hypnotising at times.

Completing the ensemble (because nobody deserves leaving out) were Daisy Wright, Edina Bilham-Moore, Emily Green, George Beckett, Kamile Kazlauskaite, Luke Holcroft, Maisie Cotterill, Megan Allsop, Mia Hodges and Sophia Cupples.

The other members of a brilliant production team were Vivienne Morrison (Director) and Chris Corcoran (Musical Director). Morrison can be extremely proud of her work and students in making this a show to remember. There really isn’t a negative word to say about it. And Corcoran once again shows why he is highly rated in Musical Theatre.

July sees Birmingham Youth Theatre taking on Sister Act, again at The Crescent Theatre, which is to be their new home. One of the reasons for this, we are told, is the increase in membership, essential to any company. Praise, therefore, must go to those behind the scenes; the committee, the friends and parents who support and spread the word. The Crescent is a great theatre and BYT fully deserve it to be their new base of performing.

Cheers.

Antony N Britt