Panto Review: Aladdin - Churchill Theatre, Edinburgh ✭✭✭✭
Review by Anne Mackie
It’s no lie, when you think of a pantomime, one of the most
celebrated narratives is that of Aladdin. Thanks to the Disney film (and most
recent musical) adaption, we all know the original story, the infamous
characters and the iconic musical numbers. It is what we have come to expect
from various stage adaptions of the classic tale. However, Balerno Theatre
Company (yet again!) exceed all expectations and deliver a production that
gives an eminent plot new energy, combining much loved tradition with a modern
twist to create the perfect panto cocktail – a recipe many other production
companies should take note of this Panto Season.
Kudos in this respect must go to Director Audrey Jones who
not only directed BTC’s current production, but also co-wrote the script
alongside company favourite, Michael Davies. Directorially, Jones hit all the
comedy hot spots through her array of lovesick leads, malicious villains,
extravagant Dames and not one but TWO Genies! Inspired gags, spoofs and jokes
are on pointe, initiating belly laugh moments for even the most panto-abhorring
audience members!
From the moment the show opens, the audience are treated to
a plethora of excellent musical choices and arrangements (thanks to Musical
Director James McCutcheon) including Arabian Nights, Uptown Funk and Never
Had a Friend Like Me, to name but a few. Vocals were expertly delivered across
the board with particular highlights from Jamie Duffy as Aladdin, Kirsten
Keggie as Jasmine and Michael Davies as the Genie of the Lamp.
As with all BTC productions, Aladdin is cast to a tee with
each member portraying their retrospective roles with exactly the right amount
of pizazz suitable for a modern day pantomime. However, it is youngster Freya
Reid as evil sidekick SoGood that truly steals the show. At 9 years old, Reid
is a pint-sized star who delivers dialogue with a sassy wickedness that has the
audience eating out the palm of her hand. Reid’s chemistry with her evil
counterpart SoFar (played superbly by Paul Calder) was a joy to watch, proving
exactly what panto villainy should be about.
Of course, no panto is complete without a Dame – a role that
is filled to perfection by panto regular, George Mackie. No stranger to the
‘Dame Scene’, Mackie knows exactly how to work a crowd as Widow Twanky, strutting
a pair of heels more confidently than most women!
Occasionally, even in the best ‘amdram’ productions, company
movement can take a back seat but BTC Choreographer Debbie Spurgeon skilfully
defies that logic by incorporating a group of young dancers who truly do put
the ‘P’ in ‘Panto’! Spurgeon’s Dancers add an extra dimension to musical
numbers with particular highlights including tap number We’re in the Money and Dancing in the Street. As an established ballet professional, Spurgeon’s
balletic routine in ‘I See The Light’ was beautifully delivered by soloist
Clara Jones who gave a committed and elegant performance. Most impressively, Spurgeon
must be commended for utilising the entire cast in full company movement, with
not one individual looking awry or out of place throughout the course of the
narrative.
What was most appealing about BTC’s Aladdin was the
utilisation of signature set pieces against a full 7 metre LED screen. An idea
that was superbly executed in adding extra vibrancy to the production value;
allowing for the smoothest and most atmospheric of scene transitions. Gone are
the days of clunky sets and insipid pull-along tabs…BTC aesthetically prove
why.
All in all, Balerno Theatre Company do it again as they deliver
a refreshing adaption of a traditional classic which has justifiably sold out!
The 2017 production arguably gives the most established of ‘panto pro’s’ a run
for their money, incorporating everything you could hope for this festive
season…including an alternative take on the ‘12 Days of Christmas’. No
spoilers, of course, but grab those cagoules…HE’S BEHIND
YOU!
Aladdin runs until Saturday 9th December 2017 at the
Churchill Theatre, Edinburgh.