The Epstein Theatre’s long-awaited return to festive pantomime arrives with Cinderella — a sparkling slice of Christmas magic that feels both like a celebration of the theatre’s revival and a warm embrace of classic panto tradition. It doesn’t reinvent the fairytale, but it absolutely delivers what Liverpool families crave in December: colour, comedy, charm and a generous dusting of glittering seasonal magic.
Coronation Street star Katie McGlynn leads the charge as the fairytale heroine, joined by panto royalty Leanne Campbell, back by popular demand, waving her wand as the Fairy Godmother. BBC Radio Merseyside’s Kevin Duala brings heart and hilarity as Buttons, with Conor Barrie as Dandini, Michael Nelson as the Prince, and Shania Pain and Brenda LaBeau wreaking glorious havoc as the Ugly Sisters.
From the moment the curtain rises, the Epstein leans into its greatest strength: intimacy. The theatre’s close-knit space creates instant chemistry between cast and audience. Audience laughter ricochets around the room, and the performers thrive on the energy, fuelling constant interaction and big belly-laughs.
Katie McGlynn brings a sincere but never saccharine warmth to Cinderella. Her clear, confident vocals anchor the story, and her poise gives the magical moments real emotional weight. The transformation scene, in particular, sends a ripple of gasps through younger audience members, pure panto gold.
As ever, the Ugly Sisters steal the spotlight. Shania Pain and Brenda LaBeau explode onto the stage in a riot of colour and chaos, pushing every joke as far as it can go without ever tipping into crudeness. They earn the loudest cackles of the night while keeping things perfectly family-friendly, a tricky balance handled with flair.
Kevin Duala’s Buttons is the beating heart of the show. His rapport with the audience is effortless, his comedy sharp, and his warmth makes everyone in the room feel ‘seen’. The Epstein may not boast the region’s flashiest panto, but thanks to performers like Duala, it just might be the most heartfelt.
Throughout the show Conor Barrie and Michael Nelson shine as a perfectly mismatched royal duo. Barrie’s quicksilver Dandini is witty and nimble, darting between servant and sovereign with a mischievous sparkle. Nelson’s Prince is his opposite: steady, sincere, and grounded in genuine charm. Together they bring both humour and heart, showing how pantomime thrives on contrast — spectacle paired with sincerity.
Despite the Epstein’s limited technical space, the creative team makes smart, stylish choices. The ballroom scene dazzles with inventive lighting and reflective fabrics, and the coach transformation is executed with confidence and flair. Nothing feels cramped or compromised; instead, the production feels nimble and cleverly imagined.
Callum Clarke’s musical supervision keeps the numbers bright and contemporary, blending pop hits with original tunes. Nazene Langfield’s choreography brings bounce and energy, giving the ensemble plenty of moments to shine.
The younger cast members, especially in the finale, radiate pure joy and the audience mirrors it. In all my years reviewing theatre, I’ve rarely seen a crowd so loudly involved, clapping, cheering and happily swept along.
Cinderella feels tailor-made for Liverpool families and performed by a company delighted to be back where they belong. It’s a glitter-dusted crowd-pleaser that sends audiences home grinning and a welcome sign that the Epstein is truly alive again.
Cinderella
The Epstein Theatre
Until 4 January 2026
Tickets
