Dominic Mattos reviews the new Stiles and Drewe musical
Britain’s most dynamic song-writing duo – George Stiles and Anthony Drewe – provide a Cinderella for the modern age, transported from panto-land to the grime and glitter of Soho. The eponymous heroine is replaced by a young rent-boy, Robbie, in love with a London Mayoral candidate (the cunningly named James Prince).
Not only is poor Robbie threatened with eviction from his dead mother’s laundrette by his ugly lap-dancing stepsisters, but he’s also embroiled in a dangerous relationship with would-be sugar-daddy Lord Bellingham – who just happens to be funding Prince’s campaign. Luckily help is at hand from the vivacious Velcro (the modern alternative to buttons), and an unlikely godmother-cum-Dandini figure in the form of Prince’s lawyer fiancée, Marilyn. It all ‘goes down’ at a fundraising ball (reached by Boris-bike), with Robbie running away and leaving his iPhone behind on the floor.
The show opens with the familiar voice of Stephen Fry, whose naughty-kids'-tv narration bubbles along merrily throughout. The opening number, peppered with Fry’s asides, introduces the characters as they sing of the joys and the filth of Old Compton Street, against the backdrop of Morgan Large’s inventive set – a giant street sign and the largest glitter-ball this side of Mamma Mia.
There are some beautiful performances, particularly from Michael Xavier as Prince – whose final speech provides real truth in a book which, despite several truly excellent one-liners, often feels somewhat perfunctory and lacking in depth. Gerard Carey as Prince’s despicable spin-doctor is also a treat. What Tom Milner’s Robbie lacks in vocal polish and volume he makes up for in sincerity, and Jenna Russell handles a difficultly written role with grace and dignity. But it is Beverly Rudd and Suzie Chard as the hilarious and horrific sisters who steal the show and walk away with it tucked into their g-strings.
There are several gems in the score, such as the stepsisters’ colourful lament, ‘I’m so over men’. Less successful is ‘Let Him Go’ in which Velcro and Marilyn sing of the difficulties of being in a love with a gay man. The lyric seems too keen to exonerate Prince from any wrong-doing in his engagement to Marilyn and left me a little cold.
These gripes are, however, well countered by the best number of the show, ‘Gypsies in the Ether’, a song which speaks of the forging of a relationship – in this case a secret one – within the liminal spaces of text-messaging and email. It is a deeply sophisticated lyric, which effortlessly illustrates how human interaction has been changed by the digital revolution, and how emotional responses can be left orphaned by modern means of communication. This is a new musical for a modern London, that is largely successful and tremendous fun. 
Soho Cinders runs at Soho Theatre until 9th September 2012.
More on Spoonfed
The Curious Incident of the Dog in the Night-Time at National Theatre
Eastern Electrics Festival The Review
Review: Jessie Cave - Bookworm
Add an event
Scoping Out London’s Coolest Historic Bingo Halls
London’s bingo halls were once a bustling part of many of the city’s communities, but as...