When I think of pantomimes, it brings me back to my childhood days of belting songs at the top of my lungs and collapsing into fits of laughter at the classic ‘Oh no you’re not!’ ‘Oh yes I am!’ exchanges between audience and cast. In many ways, Paul Hutton’s Tinder-Ella was very similar: I did sing along, join in with the chants and could not stop laughing. However, whilst this production is in the same world as other pantomimes, it is very much its own special city (the kingdom of Cumbersnatch to be precise) with an array of dildos stuck to its walls and a diverse group of eccentric characters. 

My favourite duo by far were the ugly sisters, who were rather crudely named Clunge (Emma Morgan) and Flange (Thom Stafford). From the exaggerated physicality of their actions, with Morgan constantly scratching down below so as to indicate some sort of sexual disease, to the witty one-liners, which Stafford appeared to be crafting off the cuff, the two had a chemistry that could not even be matched by protagonists Tinder-Ella (Daisy-May Parsons) and Prince Charming (Alex McDonald-Smith).

Parsons particularly shone with her ‘Swipe Song’ solo – a parodical rendition of American singer-songwriter Rachel Platten’s ‘Fight Song’ – as she effortlessly floated up to the high notes with incredible breath control. Unfortunately, the same cannot be said for the others, particularly Sluttons who struggled to enunciate enough, thus diminishing the lyrical hilarity intended, and the two show girls in sexy red lingerie who could hardly be heard above the instrumentals.

However, everybody played their part extremely well in the joint number ‘If I Was Not In Pantomime, Something I Would Be,’ bringing the stage to life and reinvigorating the audience – especially due to the penis pistol that was squirting water all over the front two rows where we were sat.

In fact, The Blue Orange Theatre in the Jewellery Quarter was arguably the best setting for Tinder-Ella, as its smaller size provided a more intimate setting that suited the kitschy, relaxed atmosphere. This also allowed audience members to get much more involved; indeed, when the cast’s jokes fell slightly flat or there was more of a lull in the plot, certain loud-mouthed individuals were not afraid to inject some banter in between. The willingness of the audience to participate in the pantomime, despite them all being adults (perhaps the buzz from the alcohol led to an increase in confidence!), really did make the show. Whether it was something as small as standing up and clapping along to the music, or a bigger role of performing the ‘Baby Shark’ dance routine on stage, everyone got involved. 

This was definitely due to the inclusivity of the production. Tinder-Ella is a safe space for those of us in the LGBTQ+ community, with a drag queen serving front and centre, as well as a pretty predictable gay plot twist towards the end. In addition to this, the comedy catered well to all ages. Although I assumed the main theme of Tinder and online dating would alienate the older generation in the audience, aspects of the pantomime were surprisingly universal – take, for example, Cinder’s intense fear of loneliness that drive her to look for her perfect match and they end up completely consuming her once her love fails.

Behind the sleazy dysphemisms and double entendres, there is still that human connection that underpins the classic fairytale story of Cinderella, which Hutton was obviously inspired by, and director James Williams managed to capture that vision last Thursday night.

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