Aladdin

This January, the Kings Theatre was magically transformed into the bustling streets of Arabia for NOMADS’ annual pantomime, “Aladdin.” As the curtain rose, audiences were treated to a dazzling array of colourful costumes, immediately setting the tone for a lively and visually appealing production. The opening number saw nearly the entire cast adorned in vibrant Eastern-inspired attire, making it clear that the costume department, led by Sarah Smith, had truly excelled this year. The Dame’s frequent and flamboyant costumes, and the entire cast’s eye-catching finale outfits in blue, gold, and red, were particularly noteworthy. Well done Sarah for your Empress role and then for your wider role and the costume team; it also explains why her Empress costume was delightful - exceptional attention to detail and flair.

The set design took a more minimalist approach, with a handful of well-painted backdrops effectively transporting the audience between scenes. Thanks to Mandy Morrish’s thoughtful direction and the efficient work of the stage management team, scene changes were slick and seamless—addressing my concerns from previous productions.

This production captured all the classic ingredients of a great panto: a nod to a messy scene, a confusion-filled cup of poison, tuneful love duets, and rousing chorus numbers. Choreography was kept simple but was generally well delivered, though there were occasional lapses in ensemble energy and engagement (smile please!). On the whole, however, the company’s enthusiasm was infectious, and the enjoyment was evident. Darren Milne, both in the chorus and as one of the guards, provided a particularly memorable comedic turn with his exaggerated marching routines.

Amongst the principal cast, Sydney (Scarlett Crossland) and Bibi (Olivia Rowan) stood out, maintaining high energy and forging a strong connection with the audience—especially during the traditional community song. Jennifer Nolan impressed in her dual roles as the Genie of the Ring and Doris, bringing a physical comedy reminiscent of classic Acorn Antiques. Meanwhile, Samantha Creswick, as the Genie of the Lamp, delivered powerhouse vocals, a vibrant stage presence and great characterisation.

David Philpott relished his role as the villainous Abanazar, expertly encouraging the audience’s boos and hisses. However, one particular scene with the Princess edged a little too close to adult panto territory, which may not have sat comfortably with all audience members. David also provided the hand for the Snake Puppet, Fazil, voiced well by Chris Brighty. Sometime the hand was not doing what the voice was saying, but this added to the humour.

Dame Gertie (Steve Beach) was as solid as ever, handling rapid-fire costume changes and audience banter with ease. That said, his extended opening routine, including hellos and birthday shout-outs, felt self-indulgent and could have benefited from a more succinct edit.

The leads, Aladdin (Freya Morrish) and Princess Jasmine (Rhapsody Rolfe), made a convincing pair and their musical numbers were warmly received by the audience. Whilst my personal preference would be for a touch more swashbuckling heroism from Aladdin, Freya embraced the charm of this loveable character.  Rhapsody’s rendition of “Somewhere Only We Know” proved a highlight of the second act and as musical director, her influence was also clear in the show’s lovely harmonies throughout.

All told, director Mandy Morrish and the dedicated production team delivered an evening of fun and community spirit. Congratulations to all those involved.

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