Aladdin

Sumptuous with glitter I think describes my first impression when entering a transformed Stonegate Village Hall. Greeted genially by Director and panto lover Susan and  experienced techie John Bush. Front of stage perfect café style seating, tables atmospherically laid and good company, plus a glass of wine a great start into the world of panto magic. Set designer Terry Parsons created the wonderful scenery and the set was open showing large ‘’Aladdin lettering across the stage in pink studded with glitter, background in shades of blue, with of central banner showing Peking Market, hanging banners in Chinese with bamboo silhouettes and on ground level baskets of various heights and parcels and either side were huge glittering dragons.  Even the stage edges were glittered as well as the central steps to the auditorium. More impressive scenery throughout and I particularly liked Widow Twankey’s wonderful laundry full of gadgets, together with laundry line! A talented team of set builders, decorators and painters created the spectacle.in Stonegate Village Hall.

Added to the sets were the glorious costumes designed and made by Lesley Lightfoot and Terry Parsons. In the baddy role was bearded Ralph Miller as villainous Abanazar, again more sparkle in splendid black headgear hell bent on getting his hands on the magic lamp with the aid of his decorous rod with the powerful ruby ring he looked intimidating.  Adding to his menace he addressed the audience sometimes at our level but we were prepared to boo and hiss. We were determined he would not have his wicked way with the beautiful Princess Jasmin whose face must not be revealed to commoners and with a number of pantos already under her belt Clarice Wale took on this lovely gentle role.  However, rags to riches Aladdin, very confidently played student of Musical Theatre Alice Walker glances her, immediately falls, is determined to make his fortune and to marry her. Her protective father, the Emperor was royally played by regular Andrew Ross, certainly an elevation in the list of characters he has played before but this was his first panto outing. Again, a right royal costume with stunning headdress. The magical goodies of the piece appeared as genial Slave of the Ring and with her cheeky Yorkshire accent obeyed wishes in shades of gold. Jo Walker added a good touch of humour to this part with Max Eley, although not a stranger to the stage was appearing on the first occasion with SADS - versatile in expression and movement made a perfect agile Genie. A most enjoyable performance.                                   

Mother of two the poor, no poorer than that Widow Esmeralda Twankey was hardly recognisable to me having seen Stephen Moir in more serious roles as Pish Tish in’ Mikado’ or multiple roles in ’Confusions.’Very neat in opening costume with cropped dark hair transforming into a shimmering mini dress and boots for strutting but the skyscraper of a headdress was a winner determined balance achieved. His innuendos, raised eyebrow expressions and dance routines admirable. Second son pretty hopeless Wishee Washee shared many a ‘cracker’ joke with us, encouraged us to shout when anyone came near his little panda and very confidently shared the manic more unusual version of ‘The Twelve Days of Christmas’ – certainly not the one I’ve been singing with my choir this Christmas time! This was Theo Beak’s first outing with SADS with hopefully more to come. Lizzie Jenner and Tabby Collier performed their duties as handmaidens and danced a colourful harem routine. A well-balanced ensemble are commended on their appearance and their harmonising – I particularly enjoyed the ‘diamond’ scene. The contrast of colour with neat red Hakka jackets with their mandarin collars and frog fastenings, black trousers, straw cooly hats and deck shoes and while socks highly effective.

The long arm of the law a pair of fast wordy comedy police officers adept with their truncheons were naturals Rebecca de Saintonge and ex pro-dancer choreographer Karen Heaslewood. The routines devised by Karen were sharp and well-rehearsed by all the cast be they performing  solos, duets or ensemble items were strong, appropriate, fun and beautifully sung. Musically, screened in their little corner were pianist Elizabeth Ross, Steve Frampton percussion and MD Robin Hare playing continuous live, good choice melodies throughout. And at the back of the hall the sound and lighting design and operating  team of John Bush, Stuart Dunbar and Chris Packham worked their magic. Susan Bowie’s direction with attention to detail is amazing – co-ordinated costuming in particular immaculate. Huge credit of course also goes to the unseen members both behind the scenes and on the catering side.

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