Aladdin

In what is certainly a first for me, I want to start my report with some comments about the scenery and the stage crew.  I will talk about the cast later but on this occasion I prefer not to leave back stage matters for just a few words at the end.

Why’s this?  In the first place, the stage crew have had to work in what is a new venue for them, familiar from rehearsals perhaps but a first for a performance.  The stage is not large, at a slight angle to the seating and, being without tabs or the ability to use cloths, the necessity for scene changes to be undertaken either in a blackout or full view.  The script, by an author not credited in the programme, called for several of these but all were handled skilfully, even on the first night.  As regards the scenery itself, this was a delight and, although the occasional scene was enacted in front of blacks, most was colourful and detailed. For instance, Widow Twanky’s business had extended to include some fast food (“wash and nosh”) which allowed several witty slogans and word-play whilst a washing scene involving something of a misfortune for Wishee-Washee also required clever use of a mangle, a cardboard cut-out and a smaller look-a-like from the Junior Chorus.   As if all this was not enough, the innovative set designer, Jane Taylor, is there alongside co-director Joanne Johnson as a couple of rather zany Chinese police officers, to see all their plans are carried out.  

So, what about the performers? They were all of a good quality, as we have come to expect from this group. Several are regulars, although perhaps undertaking different types of role. Ryan Stocks, for instance, though an ever-present since 2002, is cast as the villain for the first time and a particularly evil Abanazar he was.  We have seen Jake England progress from small principal parts over recent years and he made a fine job of the cheeky Wishee Washee.  Lily Worth made her debut with the Group as Aladdin alongside Bethany Johnson, combining her first principal role as Princess Mandarin with that of choreographer.  From the abundance of smiles on their faces (not always the case with a chorus) oying their time on stage involving some entertaining moves.  Mike Hall sported some suitably outrageous costumes as Widow Twanky and thus a return to the role of the Dame in which he seems to excel.  I also enjoyed Abbie Goodwin’s appearances as the Spirit of the Ring; the youngest of the principals she delivered her lines, always in rhyme, with great confidence and clarity.                                                               

There was a line towards the end of the show mentioning teamwork and this was apparent throughout the performance. Sound and lighting were again in the capable hands of Thomas Whitelegg using music tracks carefully compiled by Ryan Stocks.  Another enjoyable evening and, once again some deserving local causes should be able to look forward to a little financial support later in the year.   Thanks are also due to fellow NODA members Ripon Amateur Operatic Society for the use of the venue.   

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