The Epstein Theatre – until 4th January 2026
Reviewed by Jennifer Daley
5****
On a wet, windswept Liverpool night, the Epstein Theatre proved that a little rain is no match for a lot of sparkle. Their production of Cinderella burst onto the stage in a riot of sequins, satin and sheer showmanship—an unapologetically glitter-drenched panto that delivered everything the genre promises and then some.
From the moment the curtain rose, producer Chantelle Joseph served up the full festive feast: dazzling costumes, immaculate makeup, powerhouse vocals, and a generous helping of cheeky adult innuendo layered beneath child-friendly chaos. In a world where “6/7” may no longer be cool (if it ever was!) this show leaned joyfully into pure, unfiltered fun.
What really elevated the evening was the cast’s infectious energy. They didn’t just perform a panto, they lived it. Connor Barrie’s Dandini ricocheted around the stage with such ferocious enthusiasm that the audience felt breathless just watching him. His quick-witted ad-libs landed perfectly, keeping both cast and crowd deliciously on edge.
Leanne Campbel, a familiar voice to Liverpool radio listeners, brought a sensational, surprising vocal punch as the Fairy Godmother. She flipped effortlessly between ethereal enchantress and sharp-tongued Scouse auntie, delivering each line with irresistible local sass.
Buttons, played with heart-melting warmth by Kevinn Duala, balanced tenderness with daring innuendo, charming both children and adults in equal measure. His rapport with the audience felt authentic, never forced, exactly what a panto sidekick should be.
Then came the Ugly Sisters, and it’s no exaggeration to say they stole the show. Rechristened Mounjaro (Shania Pain) and Ozempic (Brenda LaBeau), this dynamic duo blasted onto the stage in a whirlwind of camp, cruelty and couture. Their comedy was outrageous, their timing razor-sharp, and their costumes? Worth a standing ovation on their own. If ever brows deserved their own billing, it was here.
One of the evening’s undeniable highlights was an utterly anarchic rendition of “The 12 Days of Christmas”, a scene so chaotic, so carnage-filled, and so gloriously silly that it deserves instant entry into the Panto Hall of Fame. For those planning to attend: bring a shower cap. In this production, dodging Nerf gun crossfire is practically a rite of passage.
And of course, at the heart of the madness was Cinderella herself, travelling to the ball in the fluffiest unicorn-drawn carriage imaginable. Her romance with Prince Charming (Michael Nelson) unfolded with storybook sweetness, delivering the happily-ever-after the audience had been rooting for since curtain rise. By the finale, goodness gleamed brighter than the fairy lights and anyone over 16 was once again reminded that we truly have no idea what “6/7” means.
A sparkling, side-splitting, sequin-soaked triumph. The Epstein’s Cinderella is everything a Christmas panto should be: heart-warming, hilarious, and brimming with community spirit.