Aladdin

I was both honoured and genuinely proud to be invited to St Gabriel’s for their 50th Anniversary celebrations and to watch their pantomime production of Aladdin. From the moment we arrived, we were warmly greeted by the front‑of‑house team, who set the tone for what was clearly going to be a joyful community event. It is important to remember that this society stages its pantomime in a primary school setting, yet the transformation they achieve is nothing short of remarkable. The stage, set, lighting, and overall atmosphere completely removed any sense of being in a school hall; instead, we were transported into a fully realised theatrical world created with care, creativity, and impressive craftsmanship.

As soon as the curtains opened, the audience was swept straight into the magical world of Aladdin. The first character we met was Abanazar, played by Paul Murtough, whose performance was a standout from the very beginning. Paul demonstrated excellent vocal projection, ensuring that every audience member, regardless of where they were seated, could hear him clearly. His characterisation of Abanazar was strong, confident, and deliciously villainous, prompting enthusiastic booing and hissing from the audience. What Paul mastered particularly well was the art of audience interaction. His timing, pacing, and delivery were sharp, and he maintained a strong connection with the audience throughout, never rushing dialogue and always allowing space for reactions. His presence anchored the show’s energy in all the right ways.

The Slave of the Ring, played by Jessica Taylor, brought a lovely warmth and charm to the stage. Jessica’s physicality and enthusiasm added a magical quality to her scenes, and she clearly understood the playful spirit of pantomime. There were, however, a few moments where dialogue was lost due to lines dropping off at the ends of sentences. This is a very common challenge, especially in a lively pantomime environment, but ensuring that pitch and projection remain consistent right through to the final word will help the audience catch every bit of the wonderful dialogue and context she brings to the role.

The show opened with the musical number Keep on Movin’, which immediately set a vibrant tone. The ensemble delivered this with great energy, and their commitment to choreography and performance was evident. The ensemble as a whole deserves praise for their enthusiasm, teamwork, and ability to maintain momentum throughout the show. Their reactions, facial expressions, and movement created a lively backdrop that supported the main action beautifully.

The young members of the cast were particularly delightful. They were clearly well‑rehearsed, confident, and full of joy. One of the most heart‑warming aspects of youth involvement in pantomime is the sheer enjoyment that radiates from them, and this production was no exception. Their smiles, focus, and willingness to throw themselves into every moment added a wonderful layer of charm. Their performance of Don’t Stop Me Now was a highlight, full of energy, fun, and youthful exuberance that lifted the entire room.

Another standout performance came from Mark Dorosz as Widow Twankey. Mark embraced the role wholeheartedly, bringing humour, warmth, and a strong sense of tradition to the character. His comedic timing was excellent, and he had a natural ability to carry the audience with him through every joke, aside, and exaggerated expression. Widow Twankey is a role that thrives on boldness and connection, and Mark delivered both with confidence and flair. Aladdin, played by Olivia Taylor, was well cast and brought a likeable charm to the role. Olivia demonstrated strong stage presence and handled both dialogue and musical numbers with assurance. She captured the adventurous spirit of Aladdin and created a believable connection with the audience and her fellow cast members. Her performance helped drive the story forward with clarity and enthusiasm.

Princess Jasmine, played by Amelia Hanif Ahmed, was another standout. Amelia delivered her dialogue with excellent articulation and confidence, ensuring that every word was clear and expressive. Her vocal ability was impressive, and she handled her musical moments with poise and control. Amelia is certainly a performer to watch in the coming years; she has a natural stage presence and a maturity in her performance that suggests she will continue to grow and shine in future productions. The Genie of the Lamp, played by Harry Ingham, burst onto the stage with enthusiasm and charisma. Harry is clearly no stranger to performing, and his confidence was evident from his first entrance. His comedic instincts, expressive delivery, and ability to command the stage made his scenes particularly enjoyable. He navigated the humour and larger‑than‑life nature of the Genie with ease, bringing a vibrant energy that lifted every moment he was in.

The comedy duo TuHi and TuLo, played by Mike Newton and Georgina Sutton, were a delightful pairing. Their chemistry, timing, and playful banter created many laugh‑out‑loud moments. They worked well together, bouncing off each other’s energy and maintaining a consistent comedic rhythm that kept the audience engaged. Their scenes added a lovely layer of light‑heartedness and classic pantomime humour.

The production team deserves significant credit for creating something truly special for their community. The set design, costumes, lighting, and sound all contributed to a polished and immersive experience. It is clear that a great deal of time, effort, and passion went into bringing this production to life.

Direction by Georgina Sutton was strong, with good pacing overall and a clear understanding of pantomime structure. There were a few moments where lengthy dialogue sections caused the audience’s attention to drift slightly, and it may be worth tightening these in future productions. Additionally, care should be taken with breaking the fourth wall. While audience interaction is a key part of pantomime, breaking the fourth wall unintentionally can blur the line between purposeful engagement and moments that disrupt the narrative flow.

The show concluded with You Can’t Stop the Beat, a lively and uplifting finale that had the audience toe‑tapping, clapping, and singing along. It was a joyful end to a joyful production. Thank you for your kind invitation and hospitality, you truly do bring the warmth and brilliance to community theatre.

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