A panto by Amy White Theatre is always something special, and Cinderella proved to be no exception. I am continually struck by the humble surroundings, which belies the quality of the productions delivered here. Time and again, this company proves that you don’t need a gargantuan stage or millions of pounds’ worth of equipment to put on a great show. What you need is heart, vision, a sense of community, and a committed cast. Amy White Theatre has these in abundance.

At the centre of the story was Emily in the title role of Cinderella. Her strong singing voice was used frequently and to great effect, and she fully embodied the sweetness and kindness of Cinders, giving us a heroine who was instantly likeable and easy to root for.

For every fairy-tale heroine, a panto needs a strong supporting cast, and this production delivered. Callum took on the role of Buttons with his trademark comic expertise. His dancing background was particularly evident, feeding into some excellent physical comedy that landed beautifully with the audience. Kyle performed strongly as Baron Hardup, the bumbling yet well-meaning father, bringing warmth, sincerity, and just the right amount of chaos to the role.

We of course needed a Fairy Godmother to help Cinderella on her journey, and ours was played very capably by Vicky. She was suitably swishy, flashy, and mysterious, and her “masterful disguise” in particular was an absolute hoot, earning plenty of laughs and adding an extra layer of fun to the magic.

Every good panto also needs a villain worthy of a hearty boo, and Abbie rose to the challenge as the wicked Baroness. She soaked up the audience’s disapproval with relish, adding a welcome sense of menace and “bad guy” gravitas to proceedings.

The Ugly Sisters were, in this reviewer’s opinion, slightly underused although that may simply be a testament to their commanding presence when on stage. Ian and Chris, as Dolly and Fanny, displayed enormous confidence in their roles and gleefully ticked off all the classic panto tropes: cheeky innuendo, over-the-top braggadocio, and an impressive arsenal of groan-worthy puns.

Balancing the villainy, Charlie stepped into the role of Prince Charming with appropriate swagger and poise, providing a suitably dashing romantic lead. Bet was another standout as the wise-cracking, thigh-slapping, sister-fearing Dandini. Bet’s “equestrian” handling in particular had the audience giggling throughout.

Adding charm and clever narrative glue were the adorable sewing mice, played by Mel, Belle, and Bee, whose characters were used to stitch the action together (pun very much intended.)

Occasionally the plot felt a little disjointed and the story briefly lost its way but make no mistake: this was an excellent show. A couple of microphone hiccups cropped up along the way, yet thanks to the cast’s strong projection skills, nothing was lost. Young performers, take note and never assume a mic will work; always project as if it won’t. Credit must go to both cast and crew for handling these moments so seamlessly.

Too often in reviews like this, the technical and creative details can be overlooked, so it is worth highlighting the outstanding costumes, many of which were made by members of the company themselves. The quick-change from Cinderella’s rags to her ballgown quite rightly drew audible gasps from the audience, as did the skilfully executed switch during the ball.

Another major highlight was the dancing. The choreography was strong, thoughtful, and well judged. Rather than crowding the stage at every opportunity, the dancers were used with real intention: sometimes adult dancers, sometimes the senior ensemble, sometimes the juniors, and sometimes everyone together. This balance showed clear consideration from both the director and choreographer. The routines themselves blended simple and more complex movements to create genuine visual interest, with effective use of props adding further flair. A particular shout-out goes to Katie, Amy, Tammy, Brooke, Jools, India, and Lily, along with the senior ensemble of Ella, Izzie, and Evie.

There truly were no small parts in this production, and the chemistry between members of the company was evident throughout. Even the junior ensemble seemed well integrated and part of the team.

All the fun of a traditional panto was here: dancing, singing, cheeky gags, mild peril, and a thoroughly satisfying happy ending. Amy White Theatre remains one of the best on the island, and Becky, Tressa, and their team should be rightly proud of what they have achieved.

And so, as the clock strikes twelve, the pumpkin trundles back into the carriage shed, the glass slipper stays firmly on the right foot, and the audience heads home humming a tune with a silly grin on their faces. This Cinderella had tinsel in its veins, fairy dust in its pockets, and just the right amount of panto sparkle to warm even the frostiest winter evening. It was gloriously cheesy, joyfully noisy, and utterly unashamed of being exactly what a Christmas panto should be: a big-hearted, toe-tapping reminder that kindness wins, love triumphs, and it’s perfectly acceptable to boo, cheer, groan, and clap like your life depends on it. In short, oh yes it was, this was festive fun done properly, and long may Amy White Theatre keep waving the wand.