Aladdin

And so, after 17 long months without being able to review a live show, it was a real pleasure to visit Bacup Royal Court Theatre to see BESTS's production of Aladdin. Like several other societies in Distict 3, the Royal Court benefitted from grant aid during the long closure. The money has been put to good use. A new outside rehearsal-come-small perfomance space is now complete. Inside a bar area which doubles as a handy breakout or rehearsal room is now on tap while the auditorium has been given a new lick of paint. 

For one night only the young members of BESTS took to the stage to finally perform Aladdin. I say finally since the show, originally to be presented in April of 2019, was put together in social isolation thanks to the wonderful capabilities of Zoom. That the desire,enthusiasm and determination to perfom the show at all after such a long interruption speaks volumes for all concerned.  

As the curtain rose we were introduced to a nine person chorus; each actor clad in uniform orange outfits reflecting the desert sands of Arabia. The costuming of this production was outstanding. I must pay a special tribute to the care and attention lavished by Dawn-Marie Woodcock and Beth Jagger. It helps actors tremendously when they feel comfortable in their costumes. It assists them so much to get to the heart of their characters. I particularly liked the Genie's post hippy outift. Effectively forming themsleves into caves at various times during the action the storytellers, Summer Holden, Nonah Hurn, Robyn Bussy, Cody Brine, Matilda Broadhurst, Tyler Holden, Feebie Thomas, Addison Warren and Tobias Holland,drove the action along with humour.    Before discussing the other actors I would like to say a big well done to the whole the back stage team. The Props, gathered by the afore-mentioned Dawn-Marie Woodcock, were stunningly authentic while the sound, projection and lighting by Rob Hames, Adam Greenwood and Nick Daye were all top notch. The magic carpet sequences worked well. I liked the added touch of the carpet appearing at times to be wobbly.   Guy Gibbs as stage manager worked his territory well. 

Isabella Woodcock in the title role was confident and moved well about the stage. Jasmine, Courtnie Whitworth, the beautiful princess, was well cast and looked the part to perfection.  So too did Emily Jagger as Persia. The pipe smoking Sultan was another sucessful creation in the capable hands of Pippa Meadowcroft, while Rudy Holland impressed as Geewiz. Charlotte Ferris played the genie with great skill, moving with ease about the stage and clearly having a ball. Omar is a treat of a part. The way the author, Kathryn Schulz Miller has written the role offers great scope for an actor (with careful diretion I must add) to make the audience actually sympathise with this essentially wicked character.  Oilivia Hill ruled the stage. She took every opportunity to shine. Clearly relishing the part, with hands on hips and clever facial expressions, Olivia is to be congratulated on her performance.  The two directors used all the stage to good effect, grouping was excellent; every actor knowing where they had to be. 

One very small comment however. Zoom has changed all our lives since March last year. What it does not do is allow for rehearsal of projection. There were a few times when the lines could have been delivered louder.  Yet to be fair this is a skill that young actors will learn instinctively the more time they spend performing to live audiences.

Thank you BESTS for easing me back so well into the magical thrill of live theatre. I look forward to September and the "The Vicar Of Dibley."

Paul R. Mason.

 

 

 

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