Aladdin

It’s very difficult to review a group that is consistently good.  What do you say?  The acting was fantastic, the scenery superb, the costumes outstanding, the music perfect, the lighting flawless!  This production was everything we’ve come to expect from Godalming Theatre Group – another triumphant offering.  It had all the ingredients of a traditional panto – nothing was missed.  From the opening chorus to the closing sing-along, they kept us clapping and cheering and booing in equal measure.  As we learned from the excellent programme, pantomime is a traditional form of British theatre combining comedy, music, dance and audience participation.  The story of Aladdin has been freely adapted since its first known performance in London’s Covent Garden in 1788.  It was in the Victorian age that Aladdin became a staple of the Christmas season, later introducing new elements such as the magic carpet, memorable songs and topical references to local places and personalities, which always bring a laugh.  GTG chose Aldershot, Liphook and Bramley as their targets for ridicule, much appreciated by the mostly Godalming audience.

The large, talented and disciplined chorus, senior and junior, launched the proceedings with an energetic opening number, slick dancing and strong singing.  The high standard set by Choreographer Emily Owen was maintained throughout the show.  She brought out the best in everyone – every member of the chorus never stopped acting and playing their part, whether they were singing, dancing or just milling about.  The dancing skeletons were a highpoint and the group song If I Were Not Upon The Stage was very funny.

The casting was superb.  The principals couldn’t be faulted and it’s impossible to pick out any individual performance.  The way in which they interpreted their roles, a mixture of tongue-in-cheek modernism and traditional panto speak, is a tribute to Director Dan Bundy who got it just right.  The supporting cast were exactly that – hugely supportive and full of vim and vigour.  I think I have to mention Abanazar (Mal Fisher) whose deep, bass baritone speaking voice had me transfixed from the word go.  And I also enjoyed David Okten’s very Scottish Aladdin!  He and Princess So Shy (Stephanie Mottershead) were charming and well suited.  I absolutely loved the Spirit of the Orient (Anne Turner) who appeared in a puff of smoke, her signature instrument of a triangle announcing her arrival and departure.  Plain speaking and straightforward, she hilariously led us through the story in a sarcastic, matter-of-fact, no nonsense way.

Carol Gallacher excelled herself – if that’s possible – with the costumes, make-up and hair for this production.  Colourful, extravagant, varied, over the top, appropriate.  I can’t help feeling this must be a full-time job to produce such an enormous quantity of different outfits to suit all shapes and sizes.  Lighting was atmospheric and fitting for every scene, bright and cheerful for the street and chorus scenes, spooky for the cave, clever sparkling jewels in the chest.  The small (invisible) band under the direction of Lizzie Hales was pitched just right and didn’t overpower the solo singing or the chorus.  It makes such a difference to have live musicians, even if they can’t be seen.  The magnificent backdrops to each scene were spectacular, making good use of technology.  The flight of the magic carpet over mountains and valleys was very realistic and I liked the humorous touch when Princess So Shy almost fell off the carpet, while anchored firmly to the stage, and had to be saved by Aladdin!

It was a refreshingly contemporary and traditional production.  Great credit to Dan Bundy for giving us a thoroughly enjoyable, professional show.

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