Richmond Theatre, London
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It’s that time of year again where local theatres are in hot
competition to hold the best Pantomime…and it’s not a task that should be taken
lightly. Whether, you are in need of a pre-Christmas pick-me-up or simply a way
to kick-start your Panto season in festive style, Richmond Theatre’s Aladdin
certainly steps up to the mark, providing a warming Christmas show that will
have you giggling in minutes.
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| Photo: Peter Schiazza |
Sticking to its roots, Aladdin isn’t the raucous
experience many Panto-frequents will be expecting, but satisfies the hankering
for a friendly, family-fun evening. Indeed, the large group of Girl Guides
clapping along to One Direction proves that Aladdin landed spot on with
the majority of its audience. The script sits particularly well with a young
audience, without patronising them with over-used quips about The X Factor. In
fact, the hark back to Suzanne Shaw’s previous success as a member of 90s band
Hear’Say, was largely missed (but made for a familiar murmur amongst the
twenty-somethings!) Shaw takes to the Richmond Theatre stage as the bubbly
Slave of the Ring, locked to the power of master - and evil villain - Abanazar
(played by Jonathan D Ellis). She later doubles as her very own ‘twin-sister’
to return as the Genie of the Lamp, transporting the plot with great ease…and
quick costume changes!
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| Photo: Peter Schiazza |
Immediately Aladdin bursts into life, the curtain
lifting to a roaring electric guitar to assert the show’s contemporary score.
At points, however, the volume of the music distracted from the singing, as
only a select few members of the cast could be heard over the thunderous
soundtrack during the first act, with weaker voices entirely lost in parts.
While the musical score was varied and enjoyable, some of the much loved
traditions of the Panto were left undermined with songs like ‘Gangnam Style’
stealing the biggest laugh. The children squealed with laughter, rocking on
their seats, but sat stunned during the Queen number of ‘I Want It All’, which
went largely unappreciated. Nevertheless, Aladdin successfully managed
to balance its contemporary references to ensure the strongest possible
reaction.
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| Photo: Peter Schiazza |
From the moment the curtain rose, the audience are dazzled
by spectacle. The immaculate costumes shone, most notably with Widow Twankey’s
numerous dress-changes bringing more surprises with every flounce. The
glittering set lights up the room, leaving each scene twinkling in your memory,
regardless of whether we’re in fanciful jewelled caves or a humble Peking
market. The choreography was superb amongst the ensemble, and one particular
cameo that stood out was that of the flying carpet, providing humour in
mischievous physicality and opening up the auditorium for audience
participation in a single tasselled swoop.
Carrying the show were the usual suspects: Wishee Washee and Widow Twankey. Wishee Washee (Tim
Vine) takes to the stage, punctuating the script with effortless comic timing
and charismatic charm. The situation comic took on the role of Aladdin’s
bumbling brother perfectly, later revealing his impressive improvisational
skills, providing pure comic excellence for genuine laughter without the
prompts of a script. Vine of course, excels in these areas, securing that the
audience leave the theatre on his side. Remarkable Richmond favourite Graham
Hoadly boldly returns to the theatre to steal the show as the impossible Dame,
Widow Twankey. Hoadly truly gleams amongst the ensemble and has the audience
crying with laughter up to the final scene. If you only see one Panto this
season, Aladdin will not disappoint.
This production runs until 13 January 2013
@RichmondTheatre
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