The Regent Theatre’s pantomime tradition continues in triumphant style with Cinderella, a production that delivers everything audiences hope for at Christmas: warmth, spectacle, laughter, and just enough heart to remind us why this story has endured for centuries. Slickly staged, joyously performed and packed with personality, this is a panto that understands its audience and serves them exactly what they came for.
At the centre of the production is Jonathan Wilkes, returning to the Regent as Buttons, proves once again why he remains such a beloved figure in Stoke. His rapport with the audience is effortless, his timing razor-sharp, and his warmth unmistakable. Wilkes understands that Buttons is not just a clown, but the emotional glue of the story, and he plays the role with generosity and heart as well as humour.
As ever, panto lives or dies on its comic performances, and this production is blessed with a strong comedic spine. Supporting Wilkes is returning performer Kai Owen as Dandini who is, once again, a standout. Celebrating 10 years of Panto in Stoke, Owen is now an annual staple of the Panto. Owen brings a wonderfully knowing performance, revelling in the role’s playful reversals of status and power. His physical comedy is spot-on, and he clearly relishes every moment, drawing huge laughs without ever disrupting the flow of the story.
Kirsty Ingram plays Cinderella and is a delight from start to finish. Ingram brings a genuine sincerity to the role, grounding the fairytale with warmth and emotional clarity. Vocally assured and emotionally engaging, she makes Cinderella’s kindness and resilience feel authentic rather than saccharine, ensuring the audience is fully invested in her journey from hardship to happiness.
Opposite her, Ben Oatley is a charismatic and likeable Prince Charming, balancing traditional heroic charm with an approachable, modern energy. His chemistry with Ingram is convincing and natural, and his performance never tips into parody – a refreshing choice in a genre that can sometimes overplay its romantic leads.
Magic arrives in style thanks to Rhiane Drummond as the Fairy Godmother, who strikes a perfect balance between goodness and whimsy. Her stage presence is commanding, her vocals strong, and her performance imbued with a sense of theatrical sparkle that makes each appearance feel like a genuine event.
No panto would be complete without its villains, and the Hardup sisters, played by Amanda Coutts (Hernia Hardup)and Rebecca McKinnis (Verruca Hardup), are gloriously grotesque. Their performances are unapologetically bold, packed with physical comedy, social media references, exaggerated characterisation and expertly pitched audience interaction. They are deliciously awful in all the right ways, and the boos they receive are richly deserved. It’s also worth noting that their vocals are exceptional – unsurprisingly from performers of their calibre.
The ensemble deserves significant praise for maintaining the energy and polish of the production throughout. Bobby Biggs, Sophie Butterworth, Amara Impey, Ella Keen, Nicholas Michael Lilonke Nyangwa, Kitty O’Gara and Luke Venters bring vitality, precision and infectious enthusiasm to the stage, ensuring that every musical number feels full and dynamic. The choreography is clean and lively, and the ensemble’s commitment elevates the entire production.
Visually, Cinderella is a feast. The set design is colourful and expansive without overwhelming the stage, while the costumes embrace classic panto extravagance – bold, glittering, and unapologetically fun. Scene transitions are smooth, keeping the pace brisk and the audience fully engaged, particularly important for younger theatre-goers. Stage magic is utilised very effectively and the Act 1 finale is one of the most surprising I’ve seen in a Panto.
Whilst the plot of the show is questionably thin, with the central narrative being short, underwritten and the minority of the stage time, with some occasionally unusually unresolved plot points, the show clearly understands the demographic and the press-night audience lapped this show up – and rightly so.
In short, Cinderella at the Regent Theatre is a polished, joyful pantomime that celebrates the genre at its very best. With strong performances across the board, genuine warmth at its heart, and a clear love for its audience, it more than earns its place as a festive highlight in Stoke-on-Trent’s theatrical calendar. A glittering, feel-good triumph that reminds us exactly why we keep coming back to the panto year after year.
Cinderella plays at the Regent Theatre until Sunday 4th January 2026. Tickets available here.
Tickets for next year’s Panto are already on sale here.
Photography throughout from Claralou Photography.
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