CINDERELLA is almost upstaged by a dog that dances on its hind legs, a flying horse that airlifts her carriage to the ball, a duck called Dooby and a menagerie of cool dude waterfowl marionettes – plus a wolf possibly awol from a different panto.

This elaborate and sophisticated production is nothing if not inventive and full of surprises.

Pudsey, the most famous collie in the country since winning Britain's Got Talent in 2012, proves useful as well as adorable in carrying out kitchen chores for handler Ashleigh Butler, playing Cinderella, keeping her spirits raised and crucially fetching the glass slipper to partner the one brought by the prince.

Breezy and confident, Ashleigh sails cheerily through her role, even when put upon by Phil Corbitt as Mel and Danny Potts as Sue, a terrifying pair of ugly sisters who tower over everyone else on stage, resplendent in gaudy costumes and relentless in loud-voiced cruelty and spite.

Comedian and multi-talented Matt Edwards as Buttons pulls the action together and draws sympathy for his own thwarted love for Cinders as Alastair Hill's Prince Charming attracts her attention.

In a spoof of the normally serious love ballad scene, Edwards attempts to sabotage the blossoming affair by getting in on the act, causing many a tumble from the wall where they are sitting, ending in a hilarious fight involving all three.

Costumes, scenery and lighting effects are superb, with the mechanical flying horse a beautifully conceived piece of coup de theatre to end the first act, especially when it initially seems about to head out above the audience.

Cabaret entertainment announced during the ballroom scene brings visual delight against a darkened stage, with Dooby Duck heralding colourful contemporary marionettes from the Roger Stevenson Animations company – ghost busters, Dixie band, clowns and a particularly inventive skeleton among other witty characters.

Dancing and choreography to modern disco music is sharp and upbeat involving a professional ensemble and well-rehearsed youngsters from the Joanne Banks Dancers.

Puns and jokes are naughty but sufficiently over the heads of children to appeal to adults without causing offence – while Edwards uses his gangly frame and rubber-faced expressions to great effect, not least in the art of well-timed intentional mistakes, which is where the wolf comes in. Niki Evans adds glamour as The Fairy Godmother and Brendan Sheerin injects more comedy as hapless rosy-faced Baron Hardup.

Performances continue until January 10.

Pru Farrier