Cinderella

Richard Gill's Cinderella is an unexpected yet entirely logical addition to his outstanding legacy of bringing Victorian Opera, and the traditional music and theatre experience, to the people. The company's outgoing music director is merely taking audience development to its youthful extreme with this entertaining pantomime.

Gill's accomplished score caters to the very young and budding music students alike, moving from Prince Ferdinand's operatic mini-aria and a four-part harmony by the chorus of 'Willies', to the show's signature tune, a charmingly simple melody about Ticketty-boo the Fairy Godmother. This clearly passes the good-melody test, as my young companion was still singing it hours later – and I'm still catching myself humming the tune. Gill leads the compact but effective ensemble of seven players through his composition, and also plays keyboard.

With the exception of some failed humour about trains, his libretto is also nicely done. It's well paced, with lots of gentle word play – particularly rhyme – and effective triggers for youthful audience interaction, including clapping, singing and shouting out. This Cinderella ticks yet another theatrical-experience box by including a brief appearance from six young ballerinas in white (no doubt a highlight for the audience's aspiring ballet stars).

The cast, which includes opera veterans Roxane Hislop (Countess Magnifico) and Suzanne Johnston (Ticketty-boo), delivers just the right level of over-the-top for each role (although more could have been done with the physical theatre aspect of most performances). At one extreme is the high camp of Julian Wilson and Roger Lemke's ugly stepsisters in hideous drag; at the other the traditional sweet passivity of Georgina Darvidis in the title role – though it was good to see this Cinderella show a little gumption toward the end. All sing their fairly undemanding parts well, though as the prince Janet Todd's big coloratura finale impresses.

Despite an obviously limited budget, this production also works visually. Costumes are very much in the fairytale tradition of knee breeches and voluminous skirts, with lots of bright colours and a sprinkling of sparkly bits. The dash of diamond pattern on the Willies' costumes is a pleasing reference to pantomime's lineage back to commedia dell'arte. A chair or two, a stationary, two-dimensional pumpkin coach tarted up with a bit of strip lighting, a brightly lit, ostentatiously painted backdrop for the ballroom, and there you have it: the magic of theatre.

Apparently this all-too-short season of Cinderella sold out; let's hope Victorian Opera make pantomime an annual tradition so that more children can enjoy a quality introduction to theatre. The only pity is that this inaugural outing's champion, Richard Gill, will not be around to carry the torch.

Rating: 4 out of 5 stars

Cinderella
Victorian Opera
Composer, librettist, conductor: Richard Gill
Director: Derek Taylor
Set and costume designer: Julie Nelson
Lighting designer: Richard Vabre
Principal cast: James Pratt, Suzanne Johnston, Georgina Darvidis, Janet Todd

Her Majesty's Theatre, Melbourne
January 25–28

Below: Richard Gill encourages the audience to sing during a 2011 episode of ABC's Q&A.