David Gibb - Cinderella Ice Cream Seller Interview

Get your dessert spoons ready for a tale of perseverance, princes, palace balls, glass slippers and, um, ice cream?

Over the last four decades, Cinderella’s has become the kingdom’s most beloved ice cream company, with a parlour on every street corner. But how did a humble ice cream maker with not a penny to her name end up as a multimillionaire business woman with her own ice cream empire?

David Gibb in Cinderella Ice Cream Seller. Photo by Andrew Walmsley

In this new musical for families and children, join Talvi and Caldwell, loyal employees of Cinderella’s, as they share her rags to riches tale, and confront their own desires, hopes, and the magic that lies within each scoop of Cinderella’s legendary ice cream.

Perfect for children and families alike, this exciting musical retelling of a fairytale classic promises a delightful blend of storytelling, stunning live music, and theatrical magic that will capture your heart and tickle your taste buds.

We caught up writer and composer David Gibb to learn more about the show.

What can you tell me in your words about your show?
Cinderella Ice Cream Seller is a new musical for families, or really, anyone who loves ice cream and musicals. It tells the story of how Cinderella, once a humble ice cream maker under the thumb of her unkind aunts, becomes a global ice cream magnate, with a Cinderella's Ice Cream Parlour on every corner of the kingdom. The story is told by two employees working in one of Cinderella’s ice cream parlours. All the music is performed live, and it’s very fast-paced and fun, with lots of multi-rolling, character-swapping, and general silliness. It’s also got a big heart - it’s the kind of show that the whole family can genuinely enjoy together.

Where did the inspiration for this piece come from?
I started with ice cream - just the concept of it. It’s universally loved (except maybe by the lactose intolerant), and it’s always there at special occasions - birthdays, holidays - it’s sort of a symbol of childhood. So it felt like a great theme for a family show. But of course, adults love it too.

I was also thinking about big, beloved companies - like Cadbury’s or Hovis - and how they become part of the public consciousness and held in real affection. I was curious about what it means to work for one of those companies, the kind that’s wormed its way into our culture.

Then I layered all that into the Cinderella story, which is such a classic, especially for younger children. I thought: what happens if you take two things everyone knows and loves - ice cream and Cinderella - and put them together? That’s where it all started.

How have you approached developing the show?
I usually start with the songs - they’re like anchors in the story. I know what each song needs to do narratively and emotionally, so I write those first. Then the script gets built around them.

Of course, things change - there's been lots of rewriting since the first previews - but the songs have mostly stayed the same. That’s probably because I’m a songwriter first, a writer second. But it’s also about musical theatre itself: the songs have to do a lot of storytelling heavy-lifting, so they’re the foundation. During the R&D we also did a lot of talking about ice cream, trying to really drill down as to why it’s so special and exciting for most of us. Sadly on the ice cream front, there was more talking than eating. 

How would you describe the style of the show?
It’s silly, sentimental, anarchic, funny, and fast. We’re trying to take something that feels like a big West End musical and shrink it down to just two performers - live instruments, multi-rolling, the whole lot.

It’s a ridiculous concept on the surface, but there’s a story underneath that really resonates. It’s about how you get along with the people around you, how you work together. And yes, there’s a lot of ice cream.

Can you describe the show in 3 words?
Delicious, tuneful, heartfelt.

How do you mentally and physically prepare for a run like the Fringe?
It’s really two things. First, having a clear plan. We try to map out each day—flyering slots, any press or performance opportunities—so we know what’s coming and can pace ourselves. It helps to know when the busy days are, and when we can take it a bit easier.

The second part is just looking after ourselves. That might mean taking ten minutes to breathe, getting a proper meal, or just stepping away from the buzz for a moment. It’s tempting to run on adrenaline all the time, but I always try to remember: the reason I’m there is to make sure the show is the best it can be every single day. And if that means resting, that’s okay.

Away from your show, what are you most looking forward to about being in Edinburgh?
I’m really excited to see lots of brilliant children’s and family shows. So many wonderful productions go on tour, but it’s hard to catch them all. Being in a place where it’s all happening at once is just amazing. I’m hoping to see as much as I can while I’m there.

Are there any other shows at the Fringe you’d like to recommend?
Yes! I saw The Little Prince, which was produced by The Egg in Bath, and it’s a fantastic piece of theatre. I definitely recommend checking that one out.

What was the first piece of theatre you saw which had a big impact on you?
When I was about nine or ten, my parents took me to see Merrily We Roll Along at Derby Playhouse - now Derby Theatre. It had a huge impact on me, and I still remember specific things about that production even now.

That theatre is a great example of the kind of space I love: big enough to do something exciting on a larger scale, but small enough that you feel close to the action. That intimacy is what makes theatre really powerful for me.

What do you hope an audience member takes away from seeing the show?
I hope families leave feeling genuinely moved and connected by the experience. One of the reasons live performance matters so much—especially for younger audiences—is that it gives children the chance to experience really great music and storytelling in a space that’s welcoming and made just for them.

We make the show with professional artists, but it’s aimed right at them—so I hope they feel seen and entertained in equal measure. And if kids and adults walk out having laughed, maybe cried a bit, and had a brilliant time together—then I feel like we’ve done our job.

Where and when can people see your show?
Underbelly, Bristo Square (Ermintrude), 30th July - 17th August, 11:40 am.