While Petty and crew borrow much from the British pantomime tradition, they generally create a somewhat tamer version for their audiences. In a sense, one regrets this because for adults it is the caustic, even bawdy references to current events that make the evening for them. But, that said, this year's panto in the guise of Cinderella has plenty of entertainment to offer that allows the child in all of us to come to the fore. It is that moment when we set aside the usual critical factors and welcome the make-belief world of Petty's vision to usher in the Christmas season.

The cast contains some fairly high octane individuals. There is Don Harron, who has turned his Charlie Farquharson character into the fumbling, stumbling Baron Hardup, Cinderella's father. When one considers that old Charlie has been entertaining Canadians for over 50 years (he first made his appearance in the Spring Thaw of 1952), it can be said without hesitation that in this production of Cinderella an old Canadian tradition has been melded into the not-so-old one of Petty's fractured fairytales.

Harron has been on stage for 68 years in one form or other. That is why one enjoys that he has come out to let yet another generation get to know this intrinsically Canadian character, even if he for the time-being is not Charlie, but Cinderella's dad. Harron brings to the stage the kind of Canadian humor we, sadly, get so little of these days. Sorry, 22 Minutes just doesn't do it for me, and Air Farce has gone down the drain. The Fairy Godmother, who ensures that Cinderella gets her Prince Charming, is played by Erin Davis, a former CHFI morning show host. She manages extremely well to be convincing in the role, and also displays her ability to ad lib. On opening night her cape got stuck on her tiara and she had to very quickly find a way to get out of this sticky situation, which she did admirably well.

Petty, of course, takes the role of the panto Dame, a part he has so often taken, but for a few productions let others take on, and last year, in Robin Hood, eliminated all together. Obviously, he realized that this was not a good idea, and so the Dame came back in the form of Cinderella's stepmother, called here deliciously, Prunella DePraved. She deserved all of the hissing she received, although one wished the children had been invited to hiss far more. That's part of the tradition. Hey, Petty, make sure the hissing comes back in full swing next year, and that whoever takes on the role, is truly wicked and depraved.

Two young performers, who are familiar to musical theatre buffs through the Stratford Festival's productions, and those offered by the Mirvishes, played Cinderella and Prince Charming. Petty, who never likes to take the straight route, ensured that the prince is usually called Jack in his version of Cinderella.

Jennifer Gould has a charming voice, but her Cinderella is just a little too perky for such a downtrodden character. It's all very well to be positive in the face of adversity, but, eh, let's have a bit of tears and let's see some ashes on that clean dress. This is where director, Jim Warren, a man of considerable talents, should have stepped in to ensure Cinderella lives up to her name. After all, the character, regardless in what language we name her, is always associated with ashes and cinders, way back to 9^th Century China.

Adam Brazier, who also is of fine voice, plays Prince Charming with enough shading to give him a bit more than the usual two dimensions he exists in within the tale. But he is overshadowed by his valet, Dandini, played with considerable panache by Jonathan Wilson. Cliff Saunders also shines as Buttons, Cinderella's faithful friend. He takes pratfalls with such ease, one hope the children watching him don't feel inclined to imitate him.

Of course, we mustn't forget the ugly stepsisters, here called Ilsa and Dagmar. Mary-Ellen Mahoney and Karen Skidmore handle these roles well, each infusing her own sense of comic timing to give a delicious turn to the twisted sisters.

There was a moment of magic for the children, and even for the adults, when the coach that arrives to take Cinderella to the ball, is pulled by two real ponies. There were gasps of joy all around when the coach came along and Cinderella boarded it. No mean feat for the coachman, for with so much noise in the audience, the horses can easily shy.

Set designer Jean-Claude Olivier captures that fractured fairy tale essence for his sets. Even the names of the Pumpkinville establishments are well thought out: Punkin' Donuts, Seedy Pumpkin Tavern, Gourd Inn etc.

The music, for music there has to be, was on the bland side, but then so is much of today's music anyway. Andrew Lloyd Webber has, unfortunately, ruined a whole generation for any real heartfelt, inspired music. But, that is incidental here. Mashed all together in pumpkin fashion, the various parts, good and bad, made for a delightful evening out. I wouldn't have wanted to miss it for anything.