Aladdin

WBLOS            ‘Aladdin’

 

RWB Memorial Hall            Sunday 25th January, 2026

 

Director: Hay Blake    

Choreography: Claire Stow, Danielle Clark, Gemma Garnett, Phlox Garnett, Gemma Shreeve

Musical Directors: Beccy Roberts

 

 PLEASE NOTE: 

These comments solely reflect the view of the Representative and can only relate to the performance seen.

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance, and it is inevitable that his assessment will be effected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances, and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

Report by Donna-Kate Hargreaves, District 16 Representative 

This was my first visit to Royal Wootton Bassett, and I was lucky enough to be invited to watch Aladdin on their final performance. From the moment I arrived, the community spirit and camaraderie within the group were immediately evident. You created a welcoming, theatrical space, and everyone I met was so friendly. My heart went out to the company when I learned you had to lose two principals just a week before the production—covering major roles on such short notice is no easy feat in the amateur world. Huge congratulations to Hay and Richard for stepping up at the last minute to take on these demanding parts. I hope both Stuart and Liv are recovering well. My friend and I also felt thoroughly welcome, and winning on the raffle was an unexpected bonus!

I had the chance to thumb through the programme before the show. It was a lovely, high-quality production, printed on sturdy card. Programmes are often overlooked, but they make wonderful keepsakes, so well done on creating such a colourful and enjoyable one. If possible—and perhaps it was a financial limitation—an extra insert with cast pictures could be a nice addition. This would make it easier to identify performers onstage, though I appreciate this is just a personal preference. I did notice that the programme had been printed very recently, as it included the cast changes, which was a thoughtful touch. Overall, it was clear, well-presented, and a pleasure to read—excellent work, Kate.

I noticed that the entire creative team were also part of the performing company. While I imagine this was not originally planned, well done on successfully balancing the dual responsibilities of creative and performer—no small feat! It’s always challenging to wear two hats in a production: contributing to the overall vision while also focusing on your own stage performance. That level of multitasking requires careful preparation, clear communication, and a strong understanding of both the technical and performance sides of the show. One small note for future productions might be to consider how dual responsibilities can be supported during tech and rehearsal so that the creative team can maintain energy and focus both onstage and off. Even with the added workload, it was clear that everyone’s dedication paid off and the result was an enjoyable show.

I really enjoyed the pre-show atmosphere. The ambient Oriental-inspired music immediately set the mood, and the lighting was thoughtfully designed to highlight the proscenium-arch stage. I appreciated the subtle nods to the Orient in the set, with symbols incorporated on both the proscenium and the stairs—it intrigued me to wonder what they translate to. The red set looked decadent, perfectly capturing the richness and vibrancy associated with Aladdin. These details, though subtle, immediately drew the audience into the world of the story and set a strong visual tone for the performance to come.

Direction

Well done, Hay! You clearly have a strong understanding of pantomime conventions, and it was evident in the way key characters were consistently positioned on their respective sides—for example, Abanazar and the Spirit of the Ring always entering from the correct side. This attention to detail helps the audience follow the action and reinforces traditional panto storytelling, which is often a subtle but crucial element of the genre.

One small suggestion for future productions could be to consider pacing and sightlines during busy ensemble moments. There were a few scenes where some performers were partially obscured, and small adjustments in blocking could ensure that every character remains visible and the stage picture stays dynamic. Overall, your direction was confident, coherent, and very much in keeping with the style and energy expected in a pantomime.

 

Set Decoration & Scenic Design
Some truly lovely set decoration throughout the production! Shows with smaller budgets often struggle to create a convincing world, but what you achieved here was remarkable. Every space was instantly recognisable, helping the audience understand the location without any confusion. I particularly loved the whimsical touches, the washing machine was a fun, unexpected detail, and the giant unicorns were pure genius! The simplicity of the sets worked beautifully, proving that you don’t need elaborate pieces to make a strong visual impact.

I also appreciated the clever use of the curtain for the Cave entrance, which added an extra layer of theatricality while keeping scene changes smooth. Overall, the set was functional, visually engaging, and full of character, and it complemented the story. 

 

Aladdin – Beccy 

A solid Principal Boy who brought energy and a playful spirit to the role. I did notice you got the giggles during the freeze-frame moment, which suited the light-hearted nature of pantomime and added a sense of authenticity to your performance. You were also a confident vocalist, delivering your songs clearly and with character. Your stage presence was strong, and you engaged the audience well, making the performance an enjoyable one overall.

 

Princess Mandarin – Gemma 

A clearly talented dancer, with excellent awareness of your body on stage, which made your movement precise and enjoyable to watch. Your energy and physicality suited the role well, and you contributed effectively to the visual storytelling. I must also mention a striking resemblance to the iconic Mel C, which was a fun and memorable observation! Continuing to focus on expression alongside movement could enhance characterisation even further, helping the audience connect not just with your dance, but with your character as well. Overall, it was a confident and engaging performance, and you brought a lively and enjoyable presence to the stage.

 

Wishee Washee – Hay 

Well done on stepping into the role and performing off book with such short notice. Your sense of character was clearly established in a very short period. You managed this while still wearing your director’s hat, which is no small achievement. Balancing both responsibilities so smoothly is impressive. Overall, you gave a confident and enjoyable performance, and it was clear that you embraced the challenge with energy and commitment.

 

Widow Twanky – Simon

A valiant attempt at such an iconic and larger-than-life role. You were endearing to watch, bringing warmth and charm to the character, though at times your performance felt a little tentative. Fully embracing your damehood, letting yourself be bold, playful, and commanding on stage, would help the character truly shine and captivate the audience. Leaning into exaggerated gestures, vocal projection, and confident stage presence will elevate Widow Twanky from charming to unforgettable. Even so, your performance was enjoyable, and it was clear that you approached the role with commitment and good humour. With a bit more daring and confidence, this Dame has the potential to become a real highlight of the production.

 

Abanazar – Richard

What a brilliant job you did! You found the perfect balance between being a baddie and still likeable, which made your character engaging, entertaining, and fun to watch. I noticed your script (disguised as a spellbook), but it was clear that you barely needed it. I imagine it served as a safety blanket, yet your stage presence and confidence would have meant that any minor slips would have been easily covered. This is not meant as criticism, rather, it is a testament to your skill and professionalism. I would never have known you were an understudy if we hadn’t been told, which speaks volumes about your preparation, focus, and ability to adapt under pressure.

Your interactions with other characters were strong and well-timed, helping to maintain tension and humour simultaneously. You had a clear understanding of the pacing of the scenes.  

 

Spirit of The Ring – TK

Points for the best trousers I’ve ever seen! You gave a really nice attempt at the rhyming couplets, delivering them with character. Occasionally, I lost some of your lines as they were spoken a little quietly, so projecting slightly more in future performances will help ensure every word reaches the audience. Overall, it was an engaging performance with a clear sense of fun, and your character added a lively, memorable presence to the show.

 

Wong & Pong – Gemma & Abby

I genuinely laughed out loud at your first entrance in the mini police cars—what a brilliant and playful way to begin! Your sense of fun was immediate, and it carried throughout your performance. I particularly enjoyed the effective use of the stage space and all available entrances, which kept the action dynamic and visually engaging. For future performances, continuing to vary energy levels and timing slightly in busy scenes could make your comedic moments even sharper. Overall, your performance was full of charm and energy, and you clearly brought a lot of joy to the audience.

 

So Shy – Claire 

You brought a calm, grounded presence to the role of So Shy, and your performance sat comfortably within the world of the show. You were clear in your intentions and interacted well with the other characters, helping scenes move forward smoothly. While the character is not one of the more heightened panto roles, adding a little more exaggeration or comic detail could help the character stand out further. That said, your performance was confident, consistent, and supportive of the overall storytelling.

 

Emperor – Mark

As the Emperor, you provided a strong sense of authority and structure on stage, which worked well within the Aladdin setting. Your delivery was clear, and you held the role with confidence, giving the audience a clear understanding of who you were and your place in the story. There were opportunities to push the characterisation further — particularly in terms of status and larger-than-life presence — but your performance was reliable and fitted well within the ensemble of principals and supporting characters.

 

Genie – Jiarong 

What a breath of fresh air! Your energy and smile were contagious, lighting up the stage from the moment you appeared. You brought a playful, vibrant quality to the role, perfectly suited to Genie. Your timing with the comedic moments was strong, and you interacted well with the other principals, helping to keep the scenes lively and engaging. Overall, you delivered a confident and enjoyable performance.

 

Ensemble

Great work from the ensemble, and the opening Justin Timberlake solo was fantastic—confident, engaging, and a strong way to set the tone for the show. The ensemble danced well together, showing energy and commitment to the choreography, and you supported the action on stage effectively. One note for future performances would be to always maintain a strong awareness of the action and ensure your reactions are purposeful and motivated, even when not the focus of the scene. There were a few moments where the stage picture felt a little static, and continuing to dance with intention, clarity, and performance focus throughout will help keep the energy alive and enhance the storytelling. Overall, you made a positive contribution to the production and helped create a lively and engaging performance

 

WBLETS / Youth Ensemble
Great job from the youngest members of the cast! Their line delivery was excellent, and their stage behaviour was impeccable, especially considering the energy and pace of a pantomime performance. Thank you for actively encouraging children through your youth team—it’s clear that you are providing them with valuable opportunities to develop both confidence and stagecraft. Building up youth theatre is something I’m passionate about, and it was inspiring to see how you shared the stage with them, giving them space to shine while still maintaining the flow and energy of the overall production.

The young performers clearly felt supported and included, which made their performances feel natural and enjoyable rather than forced. Their timing, reactions, and willingness to engage with the audience added charm and authenticity to the show. Overall, it was clear that these young actors benefited greatly from the guidance and mentorship of the company, and they contributed positively to the success and energy of the performance.

 

Music

There were some great vocal performances throughout the show. A few of the songs were ones I hadn’t heard before, which is unusual for a pantomime, as the music is often highly recognisable and familiar to the audience. However, these choices were thoroughly enjoyable and did not detract from the overall performance. I was particularly pleased with the played inclusion of Golden as bow music—it felt fresh, modern, and completely up to date, giving the production a contemporary edge while still fitting within the panto style. Overall, the music added energy, variety, and a sense of fun to the production, supporting both the storytelling and the performances effectively.

 

Light & Sound – Richard Abrams, Kenny Robb, Josh Mitchell, Grayson Buchanan

Brilliant job! On the day I attended, there were no noticeable sound issues—the mixing was clear, balanced, and set at an appropriate volume throughout. I particularly liked the subtle microphone effects, such as the added reverb on the Spirit of the Ring’s lines, which enhanced the performance without drawing attention away from the action. I’ve seen much larger-scale productions where sound mixing can be a real challenge, but here it was handled exceptionally well.

The lighting, while simple, was very effective and timed well to support both the action and the mood of each scene. The combination of light and sound worked seamlessly together, creating a cohesive and professional production environment. For future performances, experimenting with subtle colour changes or additional effects in key moments could add even more depth and visual interest, but overall, the technical team did an outstanding job.

 

Script

Aladdin can be a somewhat tricky pantomime in modern times, and you handled the material very effectively and with sensitivity. The story flowed smoothly, characters were clearly established, and the humour that landed was well-timed and engaging. That said, I noticed that a few of the jokes didn’t fully resonate with the audience. It’s difficult to say whether this was due to delivery or simply the nature of the script itself, but it did highlight the challenge of keeping a traditional pantomime fresh and relevant for contemporary audiences.

Overall, the script provided a solid framework for the performance, supporting both the storytelling and the ensemble work effectively. For future productions, reviewing certain comedic lines or cultural references to ensure they land with today’s audiences could help maximise the impact of the humour. Despite these minor moments, the handling of the script was professional, thoughtful, and sensitive, allowing all the performers to shine and keeping the production enjoyable from start to finish.

 

General

There were moments when actors lost their spotlight marks, which is understandable given that the director was also performing in the cast. The spots were static, so occasionally performers walked slightly outside the lit area, making it harder to see their faces clearly. As follow spots aren’t an option, encouraging performers to be more aware of the lit zones and their positioning on stage could help ensure they remain fully visible throughout the show.

 

The hair and makeup were excellent, and it was so lovely to be able to see all the actors’ and dancers’ faces clearly, which added warmth and clarity to the performance. 

 

The ABBA section was genuinely funny and a highlight of the show, with energy and timing that had the audience laughing. One small suggestion for future performances could be to include the short sound bites for each clip—it takes careful timing and practice, but it would elevate the scene even further. Even without this, it remained one of my favourite moments, full of humour and engagement.

 

I also loved the use of real water in the pistols—the children in the audience absolutely loved it! It was a brave choice, and it really paid off, creating some wonderfully interactive and memorable moments. 

 

In the Cave scene, I felt the children could have been brought on after the solo of Pure Imagination, allowing Aladdin his moment in full; at times, the young performers were standing quite still for a while. Small adjustments here could give the children more purpose in the scene while keeping the focus on Aladdin.

 

The first half of the show felt a little long for a pantomime. Slightly picking up the pace on cues and dialogue could help maintain momentum and keep the audience fully engaged throughout. 

 

Despite these minor points, the production was full of energy, fun, and creativity, with the performers clearly enjoying themselves and keeping the audience thoroughly entertained. The overall sense of joy and enthusiasm made it a memorable experience for both children and adults alike.

 

One note I will carry with me from watching your show is how accessible you made the stage for everyone. I absolutely applaud the little extras you included—such as the faint guide vocals on the backing track—which gave performers the confidence to shine and shine they did. It was clear that every member of WBLOS, from the youngest youth ensemble to the principals, felt valued and supported. The way you integrate newcomers alongside experienced performers created a genuine sense of belonging and allowed everyone to contribute meaningfully to the performance.

 

WBLOS truly felt like a family, where collaboration, encouragement, and mutual respect are at the heart of what you do. It’s rare to see a company foster such a safe and welcoming environment where people of all ages and abilities can participate and grow. This commitment to inclusivity and mentorship wasn’t just evident behind the scenes—it radiated on stage, with performers clearly enjoying themselves and feeding off each other’s energy. That attention to creating a supportive space made the show even more special, leaving a lasting impression and inspiring a real sense of community. I came away genuinely moved by the culture and care that WBLOS cultivates so beautifully

 

© NODA CIO. All rights reserved.