On a chilly winter evening in the capital, theatre-goers flock to the Lyceum, shedding hats, coats and scarves, and warming themselves with a hot chocolate or something stronger. The excitement in the air is palpable as the audience settles in for an enchanting performance.

Richard Conlon has become a familiar face at the Lyceum in recent years, having appeared in productions such as An Edinburgh Christmas Carol, Christmas Dinner, and The Snow Queen. As Ella’s Father, he brings genuine warmth and depth to the role, leaving us to ponder why such a kind-hearted man would marry a villain. This question is one of the reasons the story has endured: it reflects everyday truths and human complexities.

Conlon and Olivia Hemmati share a wonderful rapport on stage as father and daughter, establishing the heart of the production early on. Their connection with nature, especially through the use of colourful bird puppets, creates a magical and ethereal atmosphere that delights both children and adults.Fairy tales have remained relevant for thousands of years because they continue to speak to the human condition, resonating with different generations. This production embraces that idea while adding its own modern flair.

Matthew Forbes and Christina Gordon provide plenty of laughs as the wicked step-siblings, delivering some entertaining physical comedy. In true Brothers Grimm fashion, the story doesn’t shy away from darker elements—when Gordon, as the sister, agrees to have her toes removed to fit the slipper, the moment proves too gruesome for one young audience member. Nicole Cooper is outstanding as the wicked stepmother, relishing the role with energy and a few well-timed ad libs that add an extra spark to her performance. Carly Anderson, as the twin-set and pearls Scottish Queen, also brings a good balance of levity and charm.

At its core, the values of the original fairy tale persist: romance, enchantment, and the stark differences in class and privilege between the Prince (Sam Stoppard) and Ella. The status of royalty may have lost value in modern times, but Ella’s journey remains one of empowerment—breaking free from domestic servitude and female subjugation. These themes make the story as relevant as ever. Overall, the production strikes just the right balance of humour and drama, with some excellent local touches thrown in. A magical and entertaining night at one of Edinburgh’s most loved theatres.


Reviewed by Richard Purden.

Four Stars

https://lyceum.org.uk/