You are invited to the most enchanting pantomime of them all!
Join Cinderella on a magical adventure from rags to riches as her Fairy Godmother transforms her into a dazzling beauty fit for a Prince.
There’s no more scrubbing for Cinders, she’s off to the ball and you’re coming too!
The whole family can cheer, boo, hiss and laugh at the wicked Ugly Sisters, silly Buttons, handsome Prince Charming, the evil Baroness and dashing Dandini.
Featuring popular songs by a range of artists from Adele to Elvis, spectacular sets and costumes, side-splitting slapstick and audience participation, this traditional pantomime will delight all ages!
Young Persons Groups 15+
Havering School groups of 15+: £10 per ticket + free teacher | leader ticket with every 15 child tickets.
Young Persons Groups (schools/registered organisations) of 15+: £11 per ticket + free teacher | leader ticket with every 15 child tickets.
★★★★★ ‘I actually think this was one of the best Pantos I have seen and really think it’s better than some of the ones with big headliner names featured in them. It had all the usual sparkle, laughter, and music you expect and want from a traditional Panto’ – Nicky at Netmums
★★★★★ ‘Rich feast of glitter and girl power’ – Romford Recorder
★★★★★ ‘A new standard has been set this year…absorbing and enjoyable from start to finish‘ – London Theatre 1
10am | 1pm | 2pm | 5pm | 6pm | 7pm
£12.50 – £29.00
140 minutes including interval
20 minute interval
Relaxed Performance Mon 2 Jan | 6pm
Dementia Friendly Performance Tue 10 Jan | 2pm
Sign Language Interpreted Performance Wed 11 Jan | 7pm
Audio Described Performance Thu 12 Jan | 1pm
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Last December I met Mohammed, a 13-year-old boy from Afghanistan who had travelled all the way from his home country to the French port city of Calais. Like many other refugees and asylum-seekers fleeing war, persecution and degrading living conditions, Mohammed’s hopes lied in Europe. As a cricket enthusiast his eyes were set in England. I couldn’t help but thinking of Mohammed’s mother and the heartbreaking decision of letting her son go in hope of a better future without knowing if they would ever meet again.
Kindertransport is the story of Eva Schlesinger, a German girl sent to England by her parents at the age of 10 after the Kristallnacht, the Nazi pogrom in which dozens of Jews were murdered, thousands more arrested and shops and synagogues burnt down in the course of one ill-fated night of November 1938. Like thousands of other Jewish and “non-Aryan” children, Eva was signed on the Kindertransport, a programme introduced by the British government of the time to allow 10,000 unaccompanied children to be given refuge in Britain. Eva’s mother was torn at the prospect of bidding farewell to her daughter but also knew that it was the best she could do for her in an increasingly dangerous Nazi Germany. Once in England Eva was entrusted to the foster care of the Miller family in Manchester. Simultaneously in the play we have present day Eva, now with the anglicised name of Evelyn, and her daughter clearing the house attic and finding in the process deeply buried and painful memories.
Although it’s been 25 years since Diane Samuel’s acclaimed play premiered in London, it is today that it feels more relevant than ever. This timely production is the result of a joint international effort between the Queen’s Theatre Hornchurch, Les Théâtres de la Ville de Luxemburg and Selladoor Productions, which once again demonstrates the benefits of collaboration between countries.
The cast is a five star one composed of five women and one versatile man. Suzan Sylvester as Evelyn and Jenny Lee as Lil Miller give outstanding and deeply engaging performances and Leila Schaus’s London debut as Eva is truly promising. Matthew Brown might be the only male element in the cast but has an ensemble of characters to compensate that. His touching performance as an English postman offers a tragicomic relief during one of the saddest moments of the play.
Anne Simon’s sensitive direction pays close attention to the interaction of past and present, creating a third intertwined dimension where the characters reflect and find some answers, and often more questions, to their life events. Light and music have been craftily added to the play and help us move towards a full immersive experience.
Perhaps one of the most beautiful aspects of this play is the symbolism discreetly disguised behind objects and characters. The garret where the action takes place invokes Evelyn own personal attic, where memories that languished for years are suddenly awaken. The looming figure of the Ratcatcher and its association with Eva’s mother is both sad and frightful. Like in the Pied Piper of Hamelin, it’s the source of hope but also of deep fear if one isn’t ready to pay for his services.
Mohammed was just one of the hundreds of unaccompanied children roaming around the streets of Calais hoping to reach the UK one day. On 22 December, Abdullah Dilsouz, 15, was crushed to death by a refrigerator truck on a road outside the port. He was hoping to cross the French border and join his brother in London. The list goes on an on. Hopefully this beautiful production of Kinderstransport will make politicians and all of us realise that once again we need to open our borders for those who most need it.
Evelyn’s daughter Faith (Played by Hannah Bristow) is about to leave home, both mother and daughter are finding it hard to make a break. In the attic sorting out boxes, Faith finds a battered suitcase belonging to a young girl called Eva, a nine-year-old Jewish girl who has being evacuated from Nazi Germany. When Faith questions her mum she is shocked by the findings, how does the 9-year-old Eva relate to the grown up Evelyn?
Written by Diane Samuels’, the story of Kindertransport is based on the stories of around 10,000 Jewish children who were evacuated from Germany at the Beginning 2nd World war, to escape concentration camps. These children would travel with only a suitcase of clothes and an identity tag around their necks and it’s most likely that they would never see their parents again.
The play takes place across two different time frames, during and after the war, with Leila Schaus playing Eva as a child and Suzan Sylvester playing her as a grown up. It’s a play full of symbolism, this includes the future and past characters interacting with each other and the central theme of leaving your past behind you is often symbolized by the dismantling of the stage as Eva becomes Evelyn and dismantles her past.
In a week where we’ve had World Women’s Day and Mothering Sunday, it’s appropriate that the cast is mainly female. The only male actor is Matthew Brown who plays the Ratcatcher and hangs over the whole show, often appearing in shadows and hiding behind doors. This does a great job bringing a sense of fear and reminding the audience of the ongoing threat of the war lurking in the shadows, as well as the threat of forgetting who you are.
The play does a great job of using such a simple stage layout. Throughout the show the stage almost became a character in the show, at one point being converted into a train station and throughout the night being slowly dismantled.
Another theme shown through the night is the theme of parents doing right by their child, whether this is Helga, (Played by Catherine Janke) who sends her daughter away for safety, or Lil (Played by Jenny Lee) who takes Eva in and looks after her during these difficult times. The play also focuses on the experience that we all have, that of the inevitable separation between a child and parent, something that is still relevant for all of us today.
Go to the show, expecting an emotional night and lots of symbolism, that I’m still finding myself reflecting over now. The cast do a fantastic job of telling the story that very much needs to be told, a time when people had no choice but the flee their homes due to the oncoming threat of war and death.
History is a plant with deep roots; it is impossible to eradicate it. Diane Samuels’ play Kindertransport made a deep impression on me when I saw it 25 years ago and this new production by Anne Simon, though very different, is also effective.
It’s an apparently simple story. Helga (Catherine Janke), a Jewish mother in Hamburg sends her daughter away just before 1939 blankets Europe in war’s lethal fog. The journey itself with its restrictions and policing guards is shown as frightening and Eva (Leila Schaus)’s arrival in England to be taken in by Lil (Jenny Lee) is also shown from the child’s point of view.
Haunting the action is the legend of the rat-catcher of Hamelin who led away all the town’s children in the 13th century, a much less benevolent figure than the pied piper of the sanitised version. Simon and designer Marie-Luce Theis conjure this nightmare figure (Matthew Brown) as a predatory mass of humps and tatters prowling around the periphery of the action.
This takes place on a central stage, basically the lumber room of the house now shared by Evelyn (Suzan Sylvester) and her about-to-leave-home daughter Faith (Hannah Bristow). Faith is in two minds as to whether to go – though the house is already on the market – or to stay, which her mother finds both tiresome and unsettling.
Faith then starts looking into trunks and boxes, and the past suddenly enters the foreground. The three generations of women – Lil, Evelyn and Faith – each have to confront and come to terms with the past, the present and likely futures.
The performances are excellent with the contrasting facets of each woman’s characters sparking into focus as the drama unfolds. We’ve all been a frightened child and an adult doing the best that is possible in particular circumstances. Many of us have also been required to make life-changing decisions, often at very short notice.
For this production, the Queen’s Theatre, Hornchurch has joined with les Théâtres de la Ville de Luxembourg in association with Selladoor Productions. The international tour reminds us that world changes have their own repeat cycle. Those refugee children of 80 years ago have their counterparts today.
Anne at the Theatre
While watching three generations of women on stage tell their story, I couldn’t help but think how timely the opening of Queen’s Theatre’s production of Kindertransport is for International Womens’ Day and Mother’s Day.
The production marks 80 years since the Kindertransport which saw thousands of Jewish children ferried from Austria and Germany to safety in the UK.
Kindertransport tells the story of Eva, a young girl who is forced to leave her German parents and travel to England where she is taken in by her foster mother, Lil.
The play flashes between Eva’s past as she struggles to make a new life for herself in Manchester, to moments in the present when Eva is now a mother to her younger daughter, Faith.
When Faith finds letters of her mother’s past in the attic, Eva is forced to revisit some painful memories.
There are heart-breaking moments on stage as we see the difficult choices Eva has to make, both as a young woman and later on in her life when she has new responsibilities as a mother.
Often, the four characters are on stage at the same time, so the audience can see the parallels and differences between the mother and daughter relationships in the war and in 1983.
In addition, the haunting story of the Ratcatcher, played by Matthew Brown, who comes for ungrateful children, adds to play’s themes of growing up and the relationships we form and lose in the process.
Having grown up in the Netherlands which was occupied by Nazi Germany during the Second World War, I remember learning about the Kindertransport and events such as Kristallnacht - the Night of Broken Glass in Dutch and English.
So when I heard about Queen’s Theatre’s production of Kindertransport I was instantly intrigued.
The Second World was a major global event that affected people in many different countries around the world.
Kindertransport deftly takes its audience from Germany to London, then to Manchester.
Not only, are the settings international, but the actors too, as Queen’s Threatre co-produced the play with Les Théâtres de la Ville de Luxembourg.
Leila Schaus who plays Eva and Catherine Janke who plays her mother Helga, have backgrounds in Luxembourg.
This factor places more emphasis on the international nature of the story that is being told.
Schaus and Janke are joined by Hannah Bristow as Faith, Suzan Sylvester as Evelyn and Jenny Lee as Lil.
Written by Diane Samuels and directed by Anne Simon, Kindertransport is certainly not one to miss.
The show will be performed until March 24.
Etisyai was last seen playing the role of Gary Coleman in the UK tour of Avenue Q and is delighted to be making her panto debut at the Queen's Theatre Hornchurch.
Other theatre: Credits includes Choices (Kids Company/Criterion Theatre), Hairspray (Aberyswyth Arts Centre), the Award-winning SOLD (Edinburgh Festival).
Film and television: Includes the BAFTA Award-nominated short film Good Night (Muriel D'Ansembourg), The Collector (Andrew Rainnie).
Radio: Includes: Brighton Rock (Synchronicity).
Theatre: Credits include Peter Pan In Scarlet (New Vic Theatre and Oxford Playhouse); Corbyn The Musical – The Motorcycle Diaries (Waterloo East Theatre); The Insatiable, Inflatable Candylion (National Theatre Wales); The Life of Galileo, Promises and Lies and The BFG (Birmingham Rep); The Threepenny Opera (West Yorkshire Playhouse/Nottingham Playhouse/Birmingham Rep/New Wolsey/Graeae); Our House – The Madness Musical (UK tour); Dick Whittington & His Cat (Cheltenham Everyman Theatre); Little Shop of Horrors, Rope and Dear Brutus (Pitlochry Festival Theatre); The Firework Maker's Daughter (Bloomsbury Theatre, London); The Threepenny Opera (National Theatre); The Jungle Book (UK tour); The Vagina Monologues (Royal Festival Hall); Britain's Got Bhangra (Theatre Royal Stratford East, West Yorkshire Playhouse, UK tour); Buddy – The Buddy Holly Story (UK tour); South Pacific (UK tour); Mark Ravenhill's Dick Whittington (Barbican); A Funny Thing Happened on the Way to the Forum' (New Wolsey Theatre, Ipswich); Charmin' (Greenwich Theatre, Soho Theatre and National Theatre Studio); HMS Pinafore (Open Air Theatre, Regent's Park); 20,000 Leagues Under the Sea and Baiju Bawra (Theatre Royal, Stratford East); Cinderella (Oxford Playhouse); Emancipation Day (Soho Theatre and Theatre Royal Stratford East); Paul – A Strange Kind Of Hero (Brighton Fringe); Britten’s Opera A Midsummer Night’s Dream (Open Hand Productions); Aladdin (Courtyard Theatre, Hereford). Television and film: EastEnders (BBC), Sweeney Todd – The Demon Barber of Fleet Street (Dir. Tim Burton, Warner Bros), Deadline (Dir. Christian Wise, Brighton Film). Recording: LisGoa (Ghude Records), The Rocky Horror Show (Hammersmith Palais). Training: PGDip – Performance (LSMT), BA (Hons) Music (Anglia University, Cambridge). Natasha has also toured the world extensively as a soprano soloist and trombonist and is delighted to be joining the Cinderella gang this Christmas!
West End: Rusty Charlie, Guys and Dolls (Savoy Theatre, transfer to Phoenix Theatre); Charles Zidler, Paris Thunder (workshop, Charing Cross Theatre).
Other theatre: Includes Rory, Sex and the Suburbs (Ken Alexander, UK tour); Louis Harvey in The Ladykillers and Daffydd in A Chorus of Disapproval (both Richard Baron), Stanley in Hello Dolly! And Henry in Present Laughter (both John Durnin), Landlord in Two (Ken Alexander), all Pitlochry Festival Theatre; Steve, Liar Liar (Blanche McIntyre, Unicorn); The Boss/Carlson, Of Mice and Men (Douglas Rintoul) and Stanley Winterburn, The Great Big Radio Show (Angela Hardcastle), both Watermill Newbury; The Man, And the Rain Falls Down (David Harradine, tour/Young Vic, Fevered Sleep); Benny Southstreet, Guys and Dolls (Mitch Sebastian, Kilworth House); Terry The Twister, All the Fun of the Fair (Nikolai Foster, Churchill Bromley/national tour); Will Scarlett in Robin Hood, Simple Simon in Jack and the Beanstalk, Potty Pierre in Beauty and the Beast (Chris Jordan, Eastbourne Theatres); Frank, Sunshine on Leith (James Brining, original cast - Dundee Rep - TMA Award for Best New Musical); Frank, Have a Nice Life (Connor Mitchell, Union); Plebeian/Cassius’ Soldier, Julius Caesar (Deborah Warner, Barbican); Dick Wilkins, Scrooge (Bob Thompson, national tour); Bruce Forsythe/Husband 4/Taxman, Spend Spend Spend (Jeremy Sams, national tour); Buggins, Half a Sixpence (Jude Kelly, West Yorkshire Playhouse); Scarecrow, The Wizard of Oz (Dundee Rep); Orlick/Bentley, Great Expectations (Fiona Laird, national tour).
Film and television: Carl was very proud to be in the film of London Road and has also starred in a couple of other films called The Drop and Full Firearms. He has also worked extensively in the UK and abroad for commercials that include campaigns for Nissan, Royal Mail, Duracell, Lloyds Pharmacy, Co-op, McCain Oven Chips, Heinz Salad Cream and a Sony PlayStation game called BUZZ.
Training: Guildford School of Acting.
Theatre: Credits include End of the Rainbow (UK tour produced by Paul Taylor-Mill and The Mercury Theatre, Colchester); A Little Night Music, Home & Beauty and The Lady in the Van (Pitlochry Festival Theatre); Free As Air (Finborough Theatre, London); Iolanthe (The Gilbert & Sullivan Opera Company at The International Gilbert and Sullivan Festival and on UK tour); The Dark Hour (by Charlie Piper with Ensemble 360 for Music in the Round, The Sheffield Crucible); Housewife 49 (The Old Laundry Theatre, Bowness-on-Windermere); Oliver Twist (TNT Theatre, European tour); Promise (adaptation of Chekhov’s Three Sisters at The Rosemary Branch Theatre, London); The Hired Man (New Perspectives Theatre Company on UK tour and in New York at The Brits Off-Broadway Festival); The Magic Flute (The Bikeshed Theatre, Exeter); A Funny Thing Happened on the Way to the Forum (The New Wolsey in Ipswich); The Winter King (Derby Playhouse); Flahooley (as part of The Lost Musicals project at Sadler’s Wells) and Housewives’ Choice (Forest Forge and Oxfordshire Theatre Company). He has appeared in pantomime at The Mercury Theatre Colchester, The Gordon Craig Theatre in Stevenage and at The Princes Hall in Aldershot.
Other work: Simon has sung with The Carl Rosa Opera Company, Opera Holland Park, The Thursford Christmas Spectacular, Opera Danube, The Gilbert and Sullivan Opera Company and on BBC Songs of Praise.
Training: The Royal Academy of Music, supported by the Ruby and Will George Trust.
At the Queen’s Theatre Hornchurch: Mr Hopkins, Made in Dagenham.
Other theatre: Recent credits include Othello (Stafford Gatehouse), White Christmas and It’s A Wonderful Life (Pitlochry Festival Theatre), Calamity Jane (Watermill and UK tour), The Perfect City (UK tour), A Funny Thing Happened on the Way to the Forum, Pericles, The Lonesome West, Three Sisters, The Winter’s Tale (BOVTS), Coram Boy (Pleasance Islington), Personals (Bridewell).
Film: Astoria (Young Vic/ Guardian Shorts, 2016), Host Familie (2013), Brief Intermission (2013).
Training: Bristol Old Vic Theatre School and read German and Spanish at Bristol University.
Georgina is delighted to be returning to the Queen’s Theatre as a baddie for Panto this Christmas.
At the Queen’s Theatre Hornchurch: Ann Droid, Return to the Forbidden Planet; Julia, Lend Me a Tenor; Georgie, Godspell; Myrtle Wilson, The Great Gatsby; Ruth, Two and Two Make Sex; Antonia, Can`t Pay? Won`t Pay! ; Peep-Bo, Hot Mikado; Belinda, Noises Off; Maria, Twelfth Night; Courtesan, The Comedy of Errors; Jack Trott, Jack and The Beanstalk; Steph, Perfect Pitch; Villager/Rat, Dick Whittington and his Kool Kool Cat; Jammes, The Phantom of the Opera (Ken Hill version); Angela, Abigail`s Party; Laura, From a Jack to a King.
Other theatre: Gertrude, Roll Over Beethoven, Pal Joey (Coventry Belgrade); Macbyrd, The Comedy of Babi Babbett, Harlequin Goes to the Moon, Who saw Margory Daw?, Gentle Harry’s Farm, Ik’r’Us Inc (Rude Mechanical Theatre Company);The Hot Mikado (Watermill and national tour); Rum Ba Ba and Mustafa Maltezer, Ali Ba Ba and the Forty Thieves (Theatre Royal Margate); Salad Days (Greenwich); Dick Whittington, Aladdin, One Flew Over the Cuckoo’s Nest, Sugar (Theatre Clwyd); Robin Hood and the Babes in the Wood, The Good Companions, A Mad World My Masters, Pal Joey (New Wolsey); Dick Whittington and his Scally Cat, Rockin Robin and the Babes from Halewood (Liverpool Everyman); Don Giovanni, Country, Good Golly Miss Molly, Sleeping Beauty (New Victoria, Stoke); Dinner with Sol (White Bear); Heart and Soul (Chester Gateway); In the Midnight Hour (York Theatre Royal); Godspell (Buxton Opera House); Young Apollo (Thorndike, Leatherhead). Georgina has toured extensively throughout the UK, Europe and the Far East. Tours include The Blonde Bombshells of 1943, Company, Chicago, Some Like it Hot, Great Balls of
Fire, The Great Gatsby, Oliver Twist, A Christmas Carol, Leader of the Pack.
Television: Includes Katie in Cat’s Eyes (BBC2).
Training: Webber Douglas Academy.
At the Queen’s Theatre Hornchurch: Eddie O’Grady, Made in Dagenham.
West End: Alternate Deco, u/s Outspan and Derek, The Commitments (Palace).
Other theatre: Recent credits include Fairy and u/s Bottom and Theseus, A Midsummer Night’s Dream (RSC); March Hare/Caterpillar, Alice in Wonderland and Tommy Bostock, Mickey Salberg (Watermill); Tom Fuller, Miss Nightingale (UK tour); Barry Townsend, Soulman (Stephen Joseph); Robin Hood, Robin Hood (New Wolsey); First cover Freddie/ Ensemble, Chess (UK tour and Toronto); Walk-in cover Freddie, Chess (Aberystwyth Arts Centre); The Pirate King, Pirates of Penzance (Rose Theatre, Kingston); Laertes, Hamlet Travestie (Theatre Royal Bury St Edmunds); Aladdin, Aladdin (New Wolsey); Romeo, Romeo and Juliet (Oxford Shakespeare Company); Ali Baba, Ali Baba and the Forty Thieves (Margate Theatre Royal); Jack, Jack and the Beanstalk (Gatehouse, Stafford); Little Show of Musicals (Motherwell Civic); Dick, Dick Whittington (Hereford Courtyard Theatre); I Love you, you’re perfect, now sing! (Upstairs at the Gatehouse); Malcolm, Macbeth and Romeo, Romeo and Juliet (no.1 national tour with Shakespeare 4 Kidz); Simon, Sleeping Beauty (Theatr Clywd).
Film: Credits include The Bout, Sweet Children, A Really Big Adventure, Perspective and Call Me a Cabbie (ITV).
Training: Rose Bruford.
Theatre: Credits include Peter Pan in Scarlet (Oxford Playhouse/New Vic Theatre, Stoke); Robin Hood & Marian, The Borrowers and Dracula (New Vic Theatre, Stoke); Sunset Five (Edinburgh Festival, Pleasance Theatre & Greenwich, DugOut Theatre Co); Juno and the Paycock (Bristol Old Vic and Liverpool Playhouse) and The Revenger’s Tragedy (Gentleman Jack Theatre). Final shows whilst training were: London Road, The Merry Wives of Windsor, The Lion, the Witch and the Wardrobe. Training: Bristol Old Vic Theatre School.
Joshua is a composer and director based in Huddersfield where he is artistic director of Tiny Window Theatre Company. Recent composition and musical director credits include: Moby Dick (Theatre Mill), The Beggars of York (York Theatre Royal), Live Bolero (Dance4/Nottingham Playhouse), Home Sweet Home (Freedom Studios and national tour), Othello (The Met, Bury), Lysistrata (Lakeside Arts Centre) and The Austerlitz Scroll (Beth Shalom Holocaust Memorial Centre).
As a youth theatre practitioner, Josh has coached companies of young people through some 22 musicals, including composer/musical director credits on Alice’s Adventures in Wonderland, Into the Woods, Kiss Me, Kate, The Snow Queen and Oliver!. Joshua has written two published musicals, Make Do and Mend and Face It: the musical and an opera, The Man and Men.
At the Queen’s Theatre Hornchurch: Sarah played in the band for last year’s pantomime Aladdin. She is delighted to be back in Hornchurch for Cinderella.
Other theatre: She made her professional debut in 2 Tone musical Three-Minute Heroes at the Belgrade Theatre, Coventry. Work includes DugOut Theatre's The Sunset Five at Edinburgh and at London’s Pleasance Theatre.
Music: Sarah also plays rhythm guitar for Coventry-based Ska band Ruder Than U and drums for all-female, 1950s rock and roll band The Daisy Chains.
Training: Sarah graduated from Rose Bruford's Actor Musicianship course in September 2014.
Al Twist hails from Hornchurch and has been a professional bassist for over 20 years. He has performed with many artists and countless bands - from cabaret acts on cruise ships to film recording sessions. As a bass player, Twist is here to make the music feel good! He is delighted to be back home at the Queen’s Theatre.
At the Queen’s Theatre Hornchurch: Aladdin, Roll Over Beethoven, Hot Stuff.
Other theatre: Credits include Little Shop of Horrors (Brentwood Theatre); Who Saw Marjory Daw?, Harlequin Goes to the Moon and Macbyrd (The Rude Mechanical Theatre Company); Our House The Musical (New Wolsey, UK tour); Seussical The Musical (Chelsea Theatre London); Roll Over Beethoven (Belgrade Theatre Coventry).
|Written by||Andrew Pollard|
|Musical Director||Joshua Goodman|
|Lighting Designer||Sherry Coenen|