Review 3 - Stagetalk Magazine

ALADDIN AT BATH THEATRE ROYAL

Posted by Graham Wyles | 10 Dec 2022

Anyone who has ever read a panto script will have been bemused as to how such inconsequential stuff ever manages to entertain a theatre full of people, ranging in age from those who have only recently acquired the skill to walk upright and those who are in danger of losing it.  The answer to this puzzler is to be found in the skill of the performers, musicians and director in fashioning such unpromising material into something that will encourage the younger members of the audience into gleefully venting their disapprobation of one or more of the other characters – the baddie and their minions. Another standard situation for the exercise of young lungs is some kind of comic jeapordy in which the audience is encouraged to voice urgent warnings; the, ‘look behind you’ sequence. Add to this mix costumes that even the bravest B list celebrity wouldn’t dare to expose to the red carpet as a means of attracting attention and some eye-popping lighting of an improbable set and you are indeed all set.

In John Monie, Bath Theatre Royal has a seasoned panto pro and as this year’s writer he is someone who has a good idea of what works and what doesn’t, what can be done without and what absolutely must be in. With his years of experience comes an easy rapport with the audience, particularly the children and the recognition that, ‘something for the mums and dads’, that flies over the heads of the kids is de rigeur. The best ‘adult’ scene involves Wishee and Aladdin (Alex Aram) playing the piano in an (ahem) unusual and risqué way. Suffice to say plonking is involved.  John Monie’s Wishee Washee is a lovable, seemingly gormless and apparently innocent stock character who can inadvertently put a spanner in the works and yet has a Jeeves-like knack of sorting out a sticky situation.  He is a kind of sexless go-between for the juvenile leads, who will of course have some hurdles to jump prior to happy-ever-aftering. As ever Mr Monie entertainingly makes the part his own.

Mr Aram is the love-lorn Aladdin, who spends much of his time gazing wistfully into the gods with the freshly unboxed look of a lad coming to terms with his first love. The peart and fulgent ingénue, Kaysha Nada, is Princess Jasmine, the all-consuming object of Aladdin’s affection. She looks the part and sings as one would hope a princess sings – like an angel.

Clearly relishing his role is Tom Lister, a ruggedly nasty Abanazar, the dark foil to all the goody-goodies. Mr Lister has found that careful balance of nastiness and humour that keeps his character the right side of melodrama whilst being comfortably larger-than-life and seat bouncingly boo-able.

Amy Perry has a bagful of magical zing as the Spirit of the Ring, always watchable when she’s on stage whilst Mr Monie’s fellow stalwart, Nick Wilton, is a colourful and, as ever, man-hungry Widow Twankey. Michael Chance is a suitably ineffectual and loving Emperor, whilst Maddison Tyson, as a newcomer to the genre, has judged it well with his ever-so-slightly camp and benign Genie who ungrudgingly grants the wishes of all who control him.

As a kick start to the festive season Aladdin is bang on the money with everything as it should be.