Aladdin

Who would have thought that I’d be reviewing a pantomime a few days before the start of Spring?  I was delighted to attend NADOS’ 2018 production of Aladdin at Byrchall High School.  Having been warmly welcomed into the society with a smile, a hug and a warm and friendly atmosphere, it was clear that it was going to be a good night. 

The director, Vicky Dilworth’s vision for the show quickly came to life and the audience were taken on a journey from Peking, through Egypt, into the mountains of China and back to Peking via a carpet ride and magic; complete with special effects.  The directors’ vision was clear from the outset and I could tell that the show and cast, were very much in safe hands.  I was impressed with the creative ideas for this piece of theatre.  There were a lot of scenes in which the large cast of Principles, chorus members and dance groups could display their craft.  One slight negative note was that the production was a tad long.  I felt that a few of the scenes lacked pace or could’ve been omitted from the story, without losing the key plot lines; particularly with the police officers. 

The musical director, Barry Dilworth, commanded his band with ease.  There was a mixture of tracks and live music, which has the potential to make the process all the more difficult to commandeer.  However, I was impressed at the fluidity of the music and tracks and felt that the live band were very sympathetic to the live action on stage; knowing when to push the sound and when to hold back. 

Aladdin was well choreographed by Jean Carter.  It is not easy to find space on a school stage with a large cast, set and two dance troops, but somehow, Jean Carter was able to rub her magical lamp and her troops were able to show off their great choreography.  I got Goosebumps watching some of the little dancers who danced as if they were having the time of their lives.  It clear that a lot of love, attention to detail and rehearsal time went into this production and it was abundantly clear that the dancers loved being on that stage.  A particular favourite scene was the troll scene.  Well done! 

The production went up late due to technical sound issues.  Some of these minor issues continued during the show and I felt that some of the levels on Wishee Washee and Princess Jasmine’s mic’s needed work.  Overall, I was impressed by the sound, particularly as there were lots of complex sound cues due to the nature of it being a pantomime. 

As it was a school hall, the lights were limited in number, but they were used brilliantly to create atmosphere, location and humour.  I loved the lighting effects for the (Slave of) the ring and in the cave scene (including the use of torches), when we were treated to a brilliant version of Bohemian Rhapsody - well done. 

Vicky Dilworth asked for an eight-foot dragon, a slide, a cave, a flying carpet, three locations in two countries, a smoke effect and exploding firework special effects.  This show had all of that and more!  I was flabbergasted by the excellent standard of props, set and visual brilliance that we were treated to.  From the toothpaste on the giant toothbrush to the giant cave, floating dragon and excellent (T)wankey sign, were all used brilliantly throughout this production.  A massive well done to Tracey Barham and her team. 

To help make this show visually stunning were the amazing costumes that the entire cast had.  It must have been a logistical nightmare to organise numerous costumes for such a large cast and your hard work and dedication to the costumes did not go unnoticed.  A particular mention has to go to Gary James Williams who created an array of fantastic costumes for Widow Twankey.  If anyone is looking for costumes for their next pantomime, then Gary is the man to call! 

Alex Hayden played the title role.  He looked brilliant in his costume and if ever there was a part he should play – this was it.  Alex did well to hold it together during his (funny) scenes with Widow Twankey and has a good vocal range.  He danced well and commanded good stage presence.  At times, Alex struggled with his diction and articulation, but this didn’t detract too much from his performance. 

Neeve Dilworth played the role of Jasmine with a contemporary feel.  This slightly jarred with the authenticity of the show and I felt like Jasmine could’ve been more demure.  Neeve sang well and had good stage presence with Aladdin and her escort, Tingling. 

The baddie (Abanazar) was suitably played by Joey Wiswell who shaved his head and dyed his beard especially for the role.  I loved his dry sense of humour and he commanded lots of boos from the audience.  I felt that Joey slightly underplayed the role of Abanazer as I wanted to hate him but found myself liking him and finding him funny.

The rest of the supporting cast were all funny, sang well and played their roles with verve and vigour.  I particularly liked the Chinese paring of Hi and Lo (Chris Roberts and Jon Kennedy) who brought lots of humour to the stage; Harry Thompson who played Herald with lots of sass! And a particular mention to Lisa Griffiths who commanded the stage with energy, passion and great humour.  Every time Lisa came on stage, the energy lifted, and she brilliantly portrayed the Genie with humour, tap dancing and great costumes. 

No doubt at all, the best part in any pantomime has to be the dame.  To carry off this role, you need good humour, great comic timing and nerves of steel.  Andrew Marsh was born to play this role.  He carried the show, from his first scene until his last, with ease and had the audience in the palm of his hand.  He brilliantly tortured one poor audience member throughout the show and ad-libbed expertly – having us all creasing with laughter.  Widow Twankey’s costumes and wigs were brilliantly carried off by Andrew and he commanded every scene.  I loved your performance Andrew – well done! (Even if you did soak me with a water pistol)!

Overall, this was a really good production of Aladdin.  It was obvious that this is a very successful society as I could feel the love from the audience.  I also felt that NADOS really care about their members and there was a lot of love and care in the room amongst the cast, crew and audience.  I felt particularly welcomed and this immediately put me at ease.  In my opinion, societies like NADOS are the backbone of the future generation of performers and with a large cast and crew of all ages, I wish NADOS all the very best for the future and cannot wait to return to watch another production.

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