CINDERELLA THE MUSICAL

Bristol Old Vic

3 stars

Nobody is likely to conclude that Cinderella is a lost Rodgers and Hammerstein classic. It does not show the masters of the modern musical at their finest. The book is floppy, the tunes unmemorable: it's certainly not going to give Oklahoma! or The Sound of Music much of a run for their money. But having said that, fairytales are fine festive fare, and a 1950s American musical - even one originally written for TV - offers a pleasant prospect for anyone reduced to squeamish shudders by the prospect of a soulless commercial pantomime. More importantly, this is a sophisticated show which will appeal to those without children as much as to those with. And a Christmas show where unaccompanied adults do not feel out of place is a rarity indeed.

This is a straight account of the Cinderella story, interspersed with songs which are more inspirational in the lyrics than the tunes. From the moment Cinderella launches into 'In My Own Little Corner', an anthem to escaping into fantasy, you can tell that someone has decided to tackle - albeit fairly superficially - some of the interesting psychology underlying the fairy story, rather than just deliver a dollop of saccharine Disneyfied gloop. This climaxes with the duet between Cinderella and the prince which asks "Do I love you because you're beautiful, or are your beautiful because I love you" - a question which remains unanswered and thus rattles around in one's head long after leaving the auditorium. But despite the detours into the psychology of loneliness and love, at heart this is a straightforward family fairytale.

Making her professional debut, Sophie Bould (Cinderella) is a true find. In both looks and manner she is Audrey Hepburn reincarnated, but with a rather sweeter voice which removes the need for a Marni Nixon dub. Matching her in the eye-candy stakes are the matinee idol looks of her handsome Prince (Simon Thomas), a cross between Cary Grant and Clark Gable. Place them on designer Laura Hopkins' set, which manages to capture all the sumptuous high points of classic Fifties design, and the whole vista is so lovely that it doesn't really matter what they're saying or singing. It is a Roman Holiday/High Society technicolour fantasy where Cinderella goes to the ball in ruby slippers as fine as Dorothy's, her main tormentor is a Crawford-esque Stepmommy Dearest (Kate Graham), and the worldly-wise Fairy Godmother (Helen Hobson) strides around in a tailored suit like a stewardess on a Pan-Am Stratocruiser.

There are undoubted weaknesses. One is painfully aware of the budgetary restraints at times - and left wondering why the Old Vic didn't draw on the enormous pool of free amateur talent which any city offers in order to pad out the crowd scenes, as the cast of 10 rattle around in the vacancy of a gigantic ballroom. The Godmother's magic depends on ultraviolet light tricks which are frequently too feeble, to the point of total failure (except for the materialisation of Cinderella's carriage, which is breathtaking). But all the flaws are wiped out by director Timothy Sheader's ability to overcome a few minor obstacles to capture the essential spirit of both the Fifties movie musical and the classic fairytale. And all this refined magic goes to show that perfect seasonal escapism can rise above the tacky and betinseled.

Toby O'Connor Morse

Runs to January 24^th. Box office: 0117 987 7877