reviewed at the Cambridge Arts Theatre on 4 December
It’s billed as a traditional pantomime, and to a large extent that’s precisely what Al Morley’s script and Phil Clark’s direction deliver. Sue Simmerling’s costumes look well and there’s a particularly effective turquoise and glitter combination for the walk-down.
So, what’s the twist? The answer is show-stealer Wayne Sleep as Abanazer; picked as a favourite by one of the four children brought on stage for the singalong – I think this is the first time in all my panto-going experience that the villain trumps the comics or the young hero and heroine.
Why is obvious. Swirling his magical cloak and decorating his characterisation with just the subtlest hint of high camp, Sleep punctuates his exits with capsule dance sequences before the full-scale tap production number “Putting on the Ritz”. Widow Twankey (Matt Cosby) and Wishy-Washy (Max Fulham) don’t stand a chance.
Fulham in particular engages the audience very well, especially with his ventriloquist companion Gordon (the monkey). Crosby throws off topical and political gags in proper “blink and you miss it” style and is energetic (to put it mildly) in the second-act slop scene.
Aladdin himself is played by Holly Easterbrook in proper principal boy fashion. Liza Goddard is the Empress, trying – and failing – to keep her adventurous daughter Waterlily (Suzie Mathers) confined by imperial protocol. The other immortals are Rosalind James as the Spirit of the Ring and Andy Abraham as the Genie of the Lamp.
Kevan Allen’s choreography makes the most of talented adult and juvenile ensembles with crisp footwork and groupings. Richard John is the musical director, making the most of Will Stuart’s eclectic sequence of arrangements.
Four and a half-star rating.
Aladdin runs at the Cambridge Arts Theatre until 6 January. Performance dates and times vary: check the box office 01223 503 333 and www.cambridgeartstheatre.com for details.