Aladdin

Originally staged as a pantomime in 1788, this well loved story has an ancient history. It was interesting to read the programme notes about the vivid imagination of Scheherazade and her story-telling ability that kept her alive through one thousand and one nights - and beyond. Whilst she and her tales are broadly Middle Eastern, Aladdin is believed to have been added to the collection later by the French translator of the original Arabic text. The narrative is frequently depicted as being set in China, as in this version, which has been written especially for HTC by the director keeping to the traditional and familiar characters and structure.

Unusually for a production by this company the tabs hid the set with only a sign announcing ‘Peking Market’ hanging above the bar to give us a clue as to where we would shortly be transported. At first sight the SET appeared to be somewhat unfinished with its plain white flats so unlike the primary colours often used in panto. Details of doors, signs and curled rooftops were sketched on to give a cartoon-like appearance and a colour wash lit the cyc to throw a warm glow onto the scene. Subsequently the simplicity of the set proved its worth by being easily added to with brightly coloured dragons’ wings and Chinese lanterns to change the scene. A raised crosswalk upstage provided a different working level and was well used to highlight the magnificent throne in the palace and the dramatic appearance of the Slave of the Lamp. Two downstage arches provided important points of entry and exit for the cast that were used when a front cloth of mountain scenery hid the main stage, and a well-built rock arrangement with a working panel provided the cave’s entrance that opened and closed to a realistic grinding sound effect. Black tabs were introduced to hide the set and frame both the UV scene and the splendidly effective flying carpet that hovered in a midnight void.

The skilled LIGHTING design provided the necessary pantomime colour and spectacle - eerie green illuminated Abanazar, warm pinks and golds lit the Princess and the Slaves, washes of red and orange brightened the comedy, and timely follow spots picked out soloists. Moving heads swung gobos around the auditorium and threw beautiful shafts of blue ‘star’ light onto the flying carpet. A swift and prompt change pinpointed the moment when Aladdin and Mei Lin first saw each other, accompanied by a magical “ting”, and the pyro flash as the Slave of the Ring arrived was a well-timed surprise, while the Slave of the Lamp was given a ‘Hollywood’ entrance surrounded by pinball lightbulbs. The use of smoke further added to the effect by filling the stage with colour and mystery (as well as setting off the alarms that we all ignored!)

The quality of the SOUND was good with well timed effects and microphones picking up the voices, which were carefully balanced against the musical backing. As Me Soh Cul turned his back on us I could see his mic pack tucked into his trousers, which rather spoilt the illusion. Whilst it’s obviously easy to clip it onto your trousers, wouldn’t it be as simple to wear a pouch tucked inside the costume? A small BAND, out of sight, provided a lively backing for the many musical numbers sung by the cast, which meant that the songs could be arranged according to need; shortened, parodied, or altered in some other way - adding a few bars of the Furry Dance for example. Curiously, for me, two recordings were used for movement routines with less success. The duration is pre-determined and the content therefore has to be interesting enough to justify that duration. While Dance Macabre was a most appropriate backing for the UV ghosts, we really didn’t have enough to watch; and the three young ladies as the Dolls in a box spent too much time standing still in their routine. Diction was clear and volume levels comfortable throughout with strong and tuneful vocals from the performers.

PROPS consisted of natural looking village paraphernalia until we had the Slosh scene when a variety of tubs, washing equipment and clothing took over. The bubble machine was a clever touch, but rather unimpressive in the amount of bubbles it produced, and the mangle provided the “Flattening” gag to good effect together with the bicycle pump re-inflation. The royal attendants carried gold fans and the Jewels delivered bowls and trays of gems that twinkled and glittered in the subdued light of the cave scene. Central to the story is the Lamp, which, it has to be said, was rather small (for panto that allows for, if not calls for, ridiculous exaggeration) but it was authentic looking.

The COSTUMES were bright and colourful as suits the genre and had been selected in schemes of blues and greens or reds and golds that were cohesive and attractive. There was a distinct nod to the Orient in the Chinese jackets and wide trousers, poorer fabrics for the villagers and more sumptuous silks and brocades for the royals and the Slaves, and the ladies’ outfits were adorned with embroidery and sparkles. The headwear was in keeping, with a beautiful crown for the Princess, and a black silk skull cap for Mr Sing that looked exactly right. Cladding Abanazar in black and green was an effective choice as it stood in contrast to the brighter outfits and gave him a menacing appearance. Of course, Widow Twankey had an entertaining selection of frocks and although I’m not sure I quite liked the black cocktail dress showing as much flesh as it did, I have to admit she wore it with great style in a successfully comic way. The living Jewels in the cave all looked splendid in their multi-coloured and extravagant Arabian outfits. All the outfits looked comfortable to wear and allowed freedom of movement.

The MAKE UP indicated a less than European look with dark eyes shaped in an upward tilt, and the HAIR styles were varied, with some characters in black wigs and pigtails while others had their own hair plaited into shape. The two Slaves were more fanciful and used a lot of glitter while Abanazar’s heavy countenance and defined shading was delightfully evil. The Dame’s make up was perfectly balanced to be outrageous without being grotesque and consequently she looked very attractive!

There was limited CHOREOGRAPHY given the mixed cast and the dance ability of ensemble members who may only tread the boards once a year and who need constant reminders to keep heads to the front and smile! The company numbers, therefore, were kept to simple unison movement that consequently looked proficient with their arm/hand actions and bobbing. I have mentioned both the Ghosts and the Dolls above. UV scenes have to be worked in careful fashion so as not to cross over and mask one another and these Ghosts rightly did just that but I found the movement too repetitive given that they were all the same design and moved in the same way. And sadly, in my opinion and as referred to, the Dolls didn’t have enough movement to challenge them or provide an entertaining interlude. On the other hand, the dignified procession of the Jewels fitted the bill, if a little long. The trio performed well in Don’t Let Me Go with a fun lift at the end.

They say pantomime is the hardest genre to master. It requires comic timing, strong and exaggerated characterisation and ‘across the footlights’ stage presence, as well as a powerful hand guiding it. Here we have a specially commissioned script directed by the author - what a mammoth undertaking! The traditional tale was well told and the form held many set pieces - the Slosh and Slapstick or physical comedy, the UV, the Running Gag, the audience participation and the Song Sheet; and I do like to see a man as Dame and a girl as Principal Boy, although this is becoming less frequent now in the “politically correct gender identification” era!!! And call me a stickler but I also like my Baddie to enter Stage Left (sinister) so I was surprised by Abanazar’s appearance Up Right. The gag, “I’m telling you...” was a most original way of giving the Slaves their tasks that I appreciated. The leading characters in the tale, Dame, Aladdin and Abanazar, were portrayed by strong and confident performers who were able to draw us towards them and the staging was thoughtfully designed to have few set changes and minimal disturbance between scenes, which helped the flow and kept the show compact. I was pleased to note that the ensemble scenes, always difficult when you have a large number of people on stage, displayed a consideration for casual groupings rather than the ubiquitous straight lines around the three sides seen in many amdram shows. I did feel that the potential of the Slosh laundry scene missed its mark on opening night - more mess, more noise, more panic, more hilarity... maybe on subsequent nights you put more soap liquid in the bubble machine and perhaps it speeded up with the constant repetition. I didn’t note whether it had an underscore, and I can’t now remember, but it might be worth thinking about - that a “Keystone Cops” backing would add to the mayhem. The pace of the libretto was kept up and transitions into song were smooth so that the show rattled along at a good rate to keep the audience’s attention with only a couple of lulls. 

I was pleased to receive the invitation to visit you to see this pantomime. It was, as ever, an entertaining evening in your hands and I extend my thanks to everyone involved in the production onstage, backstage and front of house. I look forward to seeing you all again.

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