Reviews of Aladdin

Theatre review by Rupert Bristow

We were a bit sparse in numbers in the audience on the Friday night at the Methodist Church, but we made up for that in enthusiasm, we felt.  Other performances were better attended – a full house was expected on the Saturday – but, as they say, when two or three are gathered together…

As for the performance and the enjoyment, well, we couldn’t have been better entertained.  Of course the story and plot are timeless and preposterous, the basic structure worked out over decades, a century even!  But the combination of very competent acting (well done, everyone!), awful (but I liked them) jokes, some very clever “business” (especially with the washing machine and tumble-dryer), and the uniquely British craziness of the female principal boy and male pantomime dame, were true to form and excellently played, as were the evil Abenazar and the insultingly named policeman in full British bobby’s uniform, Flung Dung.

It all teetered on the edge of political incorrectness, which probably could be said of any pantomime, but, with plenty of opportunities for youngsters to dance and act, great audience participation, and a due sprinkling of local jokes – usually with Dover at the receiving end – we went out into Sandgate Road having, quite simply, enjoyed ourselves.  Don’t let’s over–analyse the whys and wherefores of the pantomime experience.  Let’s just say: “Thank you, Stage One”.

Theatre review by ‘Jack Stinker’

This year’s February offering by StageOne can be reckoned, without the least doubt, another feather in this young company’s hat. I have occasionally had reservations about the scripts used by the group, though they have always transmuted them into an excellent performance, but this script by James Barry, one of the closest to true pantomime to date, gave excellent opportunities, which the ensemble seized. There was a lively and enthralling story, good character sketching and many novel and humorous angles on the traditional tale. The characters really came alive and we became involved with them and their escapades.
The company, smaller this year, were extremely well drilled by producer John Simpson. There was room and opportunity for the actors to develop and deepen their roles. And admirable interaction with each other and the audience.

Shelley Holmes and Sue Roe were on unsurpassed form as Aladdin and his Princess, managing to make us both laugh at their 'lerve at first sight' and to believe in it, and take them to our hearts.

Jack Byrne was outstanding as Aladdin’s brother Wishee Washee, providing a rich backbone of humour, and likewise emerging as a person with whom we could all identify. Like all the cast, he had an infinite range of comic gesture, expressions and poses and would not be out of place as one of Moliere’s celebrated comic servants. He even made his Chinese hat as expressive as his body.

Malcolm Robertson, as the ubiquitous Imperial policeman Flung Dung, combined well choreographed Keystone Cops comic chases with superb audience control, throwing himself into his farcical role with gusto and energy, and providing well received comic tours de force, as with his unseen gang of brutes.

Roger Smith now has a whole history of dames behind him with this group, but manages to differentiate them all, not least in terms of costume. (And considering he has at least three changes of attire in each production, that is quite an achievement.) He had plenty of comic moments here and made the most of them as usual, but never at the expense of the ensemble playing.

As the baddie Abanazar, played as a ‘sheik to make you shriek’, Adam Grannell was a revelation, showing a gift, entirely appropriate here, for over-the-top villainy, snarling his lines, laughing with consummate evil, and getting the audience booing to the rafters (but not finally getting his hands on the princess, only much coveted silk knickers.)

Wayne Quigley made a commanding (as well as commanded) genie, with good stage presence, and Eve Neilly contributed a very likeable and expressive Slave girl, who made the most of her becoming human again near the end, and easily enslaving in her turn Wishee Washee.
And those in smaller parts acquitted themselves well.

The costumes assembled were excellent, all highly appropriate. Perhaps the outstanding get-ups were those of Abanazar, but all deserve praise.

But we must come back to John Simpson who not only brought this highly creditable production together, but was responsible for so much on the technical side that made the show run smoothly and with style. He even found time and energy to play a truly awesome mummy, loose bandages, and tomb-crippled walk and all. Not a creature to meet on a dark night!
So, not a word of adverse criticism? Well, maybe the finale and curtain call was a shade too strung-out, but that is to quibble.

All in all, a very worth-while entertainment and the audiences looked happy throughout. I have never seen a toddler clap with such enthusiasm! And she was not alone.