Aladdin

There are a lot of panto scripts out there, but what do you do when you can’t find the one that’s exactly right for you?  One that promises festive family entertainment with all the familiar trappings of a traditional pantomime.  One that stays on the right side of the narrow line that separates funny and smutty, and which broadly avoids cultural misappropriation.  One that matches up to the pool of talent at your group’s disposal.  Well, if you are Liz Riley of the Banbury Cross Players, what you do is write your own panto script, and this production of Aladdin is certainly wholesome family fun.  So many people’s first experience of live theatre is a pantomime, and this warm-hearted, accessible presentation is an ideal introduction; I was interested to learn that Sunday’s matinee will be a “relaxed” performance, opening up the genre to a whole new audience who wouldn’t necessarily feel comfortable about going to see a live show.

The production certainly ticked most of the boxes on my personal traditional pantomime checklist.  “Aladdin” is a familiar tale with a good strong narrative, and also offers plenty of opportunities for chorus work and troupes of dancers.  There’s slapstick and wordplay, musical numbers and singalongs, animal costumes and cross-dressing.  In this version there wasn’t a Principal Boy, which I thought was a shame as I rather enjoy all the heroic poses and thigh-slapping, but perhaps that’s just me.  There was, however, plenty of humour, including every “poo” joke ever written (which seemed to please the younger members of the audience), and a sprinkling of contemporary references including some allusions to Andrew Mountbatten Windsor (which played well with older theatregoers).  The Eastern setting of the story was downplayed to the extent that just about the only reference point was Aladdin’s harem pants, although there was a degree of oriental exoticism in many of the costumes.

As for audience participation, the packed house was up for it from the very start, joining in with the calls and responses and making a decent effort with the actions to “heads, shoulders, knees and toes”.  Perhaps we were all experiencing a sugar rush; mindful of the health and safety strictures around throwing sweets into the audience, members of the cast had handed out goodies as we made our way into the auditorium.  Excellent!

If the production lacked anything it was the energy of spectacle – and I recognise that this may have been deliberate to keep the piece accessible to those who might normally find the theatre an intimidating place.  Just imagine what clouds of bubbles or a sea of suds might have achieved in the laundry! (Apart, that is, from alarming both the Stage Manager and the Players’ treasurer.)  What special effects might have accompanied the summoning of the Genies, or the entrances of Abanazar?  And while pantomimes invariably benefit from live music because of its capacity to provide energy and a sense of occasion, I understand that sometimes there is no option but to use a backing track.

This talented company was nevertheless able to maintain a lively atmosphere in the theatre thanks to excellent characterisation and the fact that the cast knew and understood their parts very well; I for one don’t believe Mrs Twanky’s assertion, late in the first act, that she had gone off-script half an hour earlier.  It’s an immense achievement to write and produce an original pantomime script.  Liz and the company should be very proud of this show, and judging by the comments I heard in the foyer and on the street the audience, young and old, thoroughly enjoyed it.  Oh yes they did!

© NODA CIO.  All rights reserved.

© NODA CIO. All rights reserved.