ALADDIN AT THE ARTS THEATRE CAMBRIDGE
Aiesha Pease as Spirit of the Ring and Rolan Bell as Abanazar - photography by Richard Hubert Smith
Aladdin is a scintillating production. It sparkles the more brightly after a tricky time for the Arts theatre where last year its major in-house show, foundered on the rocks of Covid restriction and closed early. Back in business with a big bustling bounding cast ( everyone does everything at the double), this year’s Aladdin is packed to the gunnels with dazzling talent. One musical number after another knocked the songs into next week. So technically brilliant were they, the audience burst into appreciative applause part way through Aiesha Pease’s ‘(The Spirit of the Ring)’ big number - well deserved for a voice so versatile and impressive. Aladdin himself ,Carl Au, sang with massive professionalism as did - practically every member of the cast particularly Megan-Hollie Roberston who plays Princess Poppy (remember the plot, she’s the one in love with Aladdin). Her solo was worthy of a West End ticket all on its own.Even the Genie of the Lamp an entertainingly camp Jak Allen -Andersen, sang a startlingly impressive solo with a range that would take him into any concert hall in the land. And his back- flip was jaw dropping.
Yet Panto is not just about stand- out musical roles. Or even high kicks.
The plot matters and the genial cast carried it well. Rachel Lumberg as the Empress of China - further from any historical verisimilitude would be hard to go with this warm hearted Liverpudlian version of the Imperial Majesty- did a great job as mother of the winsome Princess .
But yet again, as it is every year for the past sixteen, it was Matt Crosby this time as Widow Twanky who lit up the stage . Once she was on and in full swing , penetrating voice, hilarious Dame Campissimo at full tilt, the Panto took off. And every time she appeared a mischievous cheeky fun invaded the entire production Who does those costumes? They should have a a credit of their own. Comedy is the key in a show like this, and the slapstick laundry scenes with full length skidderoo all over the floor was irrestistibly funny.
In fact when the pantomime stuck closely to the traditional formula it was most successful. Isaac Stanmore as Wishy Washy, Aladdin’s brother and least favoured of Widow Twanky’s children ‘ I had morning sickness after he was born’ was key to this contiunuity. He kept the plot in motion with professional cheerfulness - yet the child- centred signature audience call outs were a bit thin this year ‘Heads and shoulders knees and toes ‘ every time he appeared - and the link up with the kids more tenuous. One of the joys of Panto is surely the ambiguity of the jokes, the double-entendres that go above children’s heads, the sudden descent for everyone together into laugh-along inanity.
The plot was powered by the villain in this extravagant production. Rolan Bell as Abanazar, is an actor of such charisma and breathtaking physicality, his foray into villainy worked like a magnetic charm on the entire structure of the show. He was terrifying and satisfyingly stage-evil all at once. His charisma is vital to the dynamism of the plot and Rolan s a perfect devastating stage presence as well as the possessor of a fabulous basso profundo voice. Top of the Bill for my money.
I missed the long comedy sequences of yesteryear, there was no ‘ It’s behind you’ - or indeed political jokes, I always love those so much missed.. Yet the ambience is magical - Cambridge Arts have certainly pulled off their major production with flair this year - it is a Panto to be proud of and bound to be packed to the end of the season.
