Cinderella, The Dukes, Lancaster

Cinderella has been been a much-loved favourite throughout the generations. Sometimes classed as a timeless tale about unjust repression, like Robin Hood, it can readily be shaped to suit the interpreter's own time, place and social setting.

And this is just what Lancashire lad Ian Kershaw has done for The Dukes in Lancaster. He has set the tale in an isolated Northern farm run by a widowed father, but the work is left for most of the time in the care of Ella, his only daughter, whilst he travels away to sell their produce and purchase supplies and domestic necessities.

The farmer remarries unwisely – and the inevitable consequences soon emerge. Kershaw's northern, left-of-centre take is beautifully written with some cracking local dialogue.

The Dukes' artistic director Joe Sumsion imaginatively directs the cast of six (there is some intelligent doubling), there's a fine vocal and instrumental score from Carol Donaldson and some wonderful puppetry.

But whilst the children chortled at the wackier lines, and palpably drew breath at the more serious moments, many of the older members of the audience were also responding audibly to Kershaw's nicely-couched political and social references. With a healthy contempt for anything or anyone that resembles Essex Girl, and a clear vindication of Northern 'good solid graft', the text and narrative clearly won over everyone present.

Runs until January 10

Michael Nunn