Aladdin

It is a rare treat indeed to see the author of a production live on stage. Yet I was privileged to see Leo Appleton perform the deliciously wicked role of Abrcaadaldi, ( is that right?) Aladdin’s lost lost uncle. 

The packed house thoroughly enjoyed this totally wholesome, well performed performance. With not a hint of innuendo or double entendre this is a show that would be suitable for any company wishing to stage an entertaining well constructed pantomime. It offers a number of good roles, a canny dame,  comedy duo policemen, the aforementioned Abracaquoit (yes?), the beautiful princess and her family and other smaller yet important parts.

Director Phil Thomas had assembled a well balanced cast all of whom threw themselves into their parts with abandon. Moreover, and it is to his massive credit,  he allowed no one person to go over the top or dominate the action. This is a rare comment to make when reviewing a pantomime. I found his approach refreshing and it was appreciated by the mainly young(ish) audience. 

As the title character, Maia Coffey grasped all the opportunities offered to her. She was comfortable on stage, drawing us into her role. It was a performance of great style and charm.

Widow Twankey, usually portrayed as a total fright, was portrayed as a savvy lady, of course with the usual silly costumes, yet here was a dame who one could relate to and take seriously, well almost. This approach to this iconic role was refreshing. In the capable hands of Mia Barlow we saw a real character, concerned for the welfare of both her sons, yet also looking out for the main chance when it presented itself. The two police officers, Ping and Pong, within the mode of writing that had been established, became crafted personsonalties who you could take a real interest in. Played by Pauline Hardie and Lyndsey Heron they moved well together and added notable colour. In Wishee Washee, Aladdins’ elder brother, we saw a character concerned for the safety of his brother. In fact if one was looking  for a theme underpinning this pantomime it would probably be related to that of looking after others. It is a powerful message. The hint, emblazoned on a sheet hanging out to dry on Widow Twankey’s washing line, referencing John 3.16, underpinned the moral character of this production. Richard Reed moved well and sang well, holding the stage with confidence and accepting the fact that his character plays second fiddle to his brother. All the songs that peppered the action were  well sung by both individual characters or the chorus. I was able to sing along to many of them. A small point however. For all their excellence and familiarity they all came from a time some time ago appealing to people of a certain age ( i.e. me) . One of the strengths of modern panto is to engage the younger members of the audience by playing tunes that they themselves might have put in the charts. I suppose if any society is considering producing this version of Aladdin (which I hope they will)  they could choose their own songs.  The Angie Strickland Quartet , quietly occupying a position off stage left, were superb. They certainly packed a punch for a small band; never intrusive they are to be congratulated.  It is a truism to say that to be successful all the parts of putting it together must be in place. The costumes, the set, the props were all excellent. Under the direction of Amy Appleton the choreography was simple yet effective.  All the chorus members were immaculate, with carefully coiffured hair, good make up and oodles of confidence. 

Princess Jasmine, and her confidante Coco, were played by Sarah Rouse and Sofia Hardie. They were a treat. Again, Lee Appleton had created them as real people giving both of them opportunities to demonstrate human foibles. Such subtleties were probably not picked up by the children in the audience yet were noticed with wry smiles by the adults.

There were so many other little gems on show in the hands of Ron Oddy, Elsie Heron, Lola Donnegan-Fearn, Carolyn Clapham, Chris Lodge and  Niamh Donnelly. All of them brought that little something extra of spice and panache to their parts. It did not go unnoticed!  The chorus, Kath Greenwood, Georgia Tate and Mia Wood added real sparkle. 

And so we come to the baddy. Lee Appleton was outstanding. From the moment he first appeared we knew we were watching a well crafted evil wizard. Abanazer, as written, is a fantastic role.  Lee was never tempted to overplay the part. How often have we seen performers decide to go way over the top, not just over acting, thereby losing the audience along the way.? Tonight we saw the wheels of this Abanazer’s mind turning as he planned his dastardly plots. In fact I had to remind myself at the end when he got his just desserts that I was watching a panto as I actually felt sorry for him. It was a complex interpretation, not often seen in a modern pantomime. Yet utterly successful in its concept.

Lee Appleton and Rob Fearn have written a most enjoyable pantomime that while it  includes all the traditional ingredients of the form, adds wit and wisdom too. Congratulations, Gentlemen.

Like the audience ats its conclusion,  I was enthusiastic in my loud applause; delivered with a huge smile on my face.

PS The magic flying carpet ride was a real stroke of genius!!!!

PRM.

 

 

 

 

© NODA CIO. All rights reserved.