Aladdin is a popular if often problematic title that keeps its allure thanks to the magic and drama of the plot plus a dash of Disney familiarity.
The focus for this production is on laughs with Widow Twankey and Wishee Washee dominating most of the stage time warming up the audience with ease. It’s clear that Donovan Christian Cary (Twankey) and Robert Hopkins (Wishee) are a well-established duo and popular with loyal audiences. Tom Capper as PC World interacts with them superbly, although occasionally three is a comedy crowd.
In contrast to the slapstick and mayhem of Twankey’s laundry, Rachel Lea-Gray is a haughty Vilanelle who quickly establishes exactly why she deserves boos. From opening monologue through to belting out an excellent version of "Everything’s Coming up Roses", she stalks across the stage in knee-high boots, very much putting her own stamp on the character and demanding obedience from her magical aide.
As the Spirit of the Ring, Matt Sparkes is outstanding, sashaying in sequins, leading dance numbers such as the opening sequence "Let’s Get Loud", bringing more than a touch of comedy and glamour to a role sometimes overshadowed by the Genie of the Lamp or used as a narrator.
And as for the more powerful Genie of the Lamp? Writing any more would reveal some panto magic that’s best kept a surprise.
There’s no surprise, however, in the love story between Aladdin and Jasmine, and Leon Newman and Nunt Ruddit make a sweet pair with voices that blend well. Their tone is light and earnest, a fairytale couple fit for panto-land royalty.
The adult cast are supported brilliantly by an ensemble of 19 dancers made up of three age groups. They bring a vibrancy to the stage with Dee West’s choreography incorporating most major dance styles, showcasing the talented group but never upstaging the principals. The ghost and ghouls routine to allStars’ "Bump in the Night" is a particular and genuinely creepy highlight.
There is much to enjoy in this production, including the slapstick scene in Twankey’s laundry, the classic bench scene, "Twelve Days of Christmas" (credit to Tom Capper for so much running in character) and a search for and subsequent chase of Patti the Panda. As a result, there’s so much business that the pacing in act one is slightly uneven and the final conclusion of act two rather rushed.
However, the company’s genuine warmth and passion for panto shines through in all of these moments of audience interaction, their combined experience taking them to the next level. This reviewer may be slightly deaf from the bench scene alone—I’m not sure I’ve ever heard “it’s behind you” shouted at quite such a volume and with so much intensity.
The posters proclaim that this is their "most spectacular pantomime ever", and with such colourful costumes, multiple musical numbers, pyrotechnics and even a flying carpet, it would be hard to disagree.