Everything you could wish for
BARBARA HODGSON REVIEWS DURHAM GALA THEATRE’S FESTIVE PANTOMIME, ALADDIN
FROM the very first scene of this madcap panto, there’s no let up in pace on a fast and furious journey which takes audiences back and forth between Egypt and China, with a touch of Spanish music and local references en route.
And everyone is clearly happy to be along for a ride in a show which sees the well-loved tale of Aladdin, Abanazar, the genie and the magic lamp given the familiar panto Gala team treatment.
That means the kids know the familiar catchphrases to shout – and can’t wait to do so – when cast regulars Neil Armstrong and Paul Hartley, the show’s writers, directors and stars, take to the stage alongside Paul Dunn as the Dame.
The three are experts in engaging audiences and waste no time in making all ages part of the show – quite literally at times so beware if you’re seated in the first few rows – and their winning formula is at play from the off.
This time Armstrong is Abanazar, whose barbed comments to the audience have the desired effect. He always leaves his villain open for heckling and laughter, although we were a bit wrong-footed when he punched a camel at one point – although it meant we were less surprised when he shot a gun at Aladdin.
Hartley is great fun as the wellmeaning-but-hapless Wishy Washy, as is Dunn, who dons ever more elaborate costumes as Widow Twanky during chaotic scenes as they help and hinder Aladdin’s (David Hosie) attempts to evade the town’s police, win the heart of Princess Jasmine (Eleanor Chaganis) and retrieve the lamp.
Widow Twanky’s laundry references all seemed to be gearing up to a messy washing scene – but it didn’t come. I’ve come to expect one over the years and was disappointed not to see a soaking but then again I wasn’t sitting in the front row.
The annual Gala show, thanks to its core team, captures all the best elements of traditional family panto.
There’s no weak link among the performances, which include some super-slick song and dance numbers and young talents playing a comic line-up of Egyptian mummies, and particular favourites of mine among the cast were Kylie Ann Ford, who had a fine stage voice and timing as the comical chief of police Tai Chi and Laura Lonsdale as a Cockney genie who hovers in mid air during her magical appearances. Music, played by a live band, chopped and changed the tempo and eclectic songs included some new lyrics to the likes of Sister Sledge’s Frankie – here Twanky – and takes on Robert Palmer’s Addicted To Love – which included a couple of Plant dress-alikes in the chorus – and, again a personal favourite, an inspired If I Were A Rich Man, sung by Armstrong.
I liked the quirky touches to the story, such as the tannoy announcement on entering the cave of wonders where the lamp is hidden – although a savage cat scene was a bit bizarre – as well as the whole staging: colourful traditional-style sets; glittering costumes and lightning effects; with the flying carpet scene working particularly well as it emerged from blackness.
The panto runs until January 5 and there are relaxed performances available as well as a first-ever captioned one (on January 2).
There’s no weak link among the performances, which include some super-slick song and dance numbers