Aladdin, which is written by Sonia Jalaly and directed by Nicholai La Barrie, hit the marks of a delightful family friendly pantomime, with a refreshing effort to connect with modern audiences. Aladdin, a classic pantomime, manages to provide a new and updated take on the tale, with its use of pop culture references, a diverse cast, hip-hop and rap and well written and developed characters.
Set in the present day at Hammersmith Market, Aladdin follows the story of a young Aladdin who hopes to win the love of Princess Jasmine. With the help of the Genie and his mother, Widow Twerkey, Aladdin must defeat Princess Jasmine's step-dad Abanazaar, and live happily ever after with the Princess Jasmine. The plot is easy to follow, even without prior knowledge of the story, and its easy going charm and humour reminds one why Aladdin is still the most prevalent of pantomimes. Although aimed at children, the tale adds in a fair share of tongue in cheek moments alongside the fun plot that adults are able to partake in the wonder of the show.
Aladdin does right, what many pantomimes don't, and allows for a broader perspective to shape the show. Aladdin is introduced through a hip-hop rap, freestyling his dance moves and ramping up the energy in the theatre. Although the lyrics may have been hard for younger audience members to fully enjoy, the fiery emergence of the titular character was a strong start for the show, and it only continued upwards. Aladdin's mother, Widow Twerkey, is a sassy, Beyonce-loving, overly dramatic diva which neatly complements Aladdin.
The performances from the cast are exciting and explosive, ensuring that every single audience member were entertained. Andre Antonio in the titular role is charming and likeable, and brings a rush of energy with him. His vocal and acting talent shines through, making it impossible not to root for him. Aleyna Mohanraj as Jasmine is quietly powerful, slowly building herself up throughout the show to implode in the best way in the latter half of the second act. Mohanraj's doe eyed Jasmine is adorable which makes her grand solo feel even more majestic.
The ensemble are given moments to shine too, with the fast paced choreography and fleeting minor characters (with a particular appreciation for Francisco Gomes who played a fantastic Cardi B). The choreography (Alexzandra Sarmiento) helps pulls together the world, allowing the show to fill the space of the Lyric theatre.
Andrew Pepper takes on the fun role of the pantos bad guy, Abanazaar, encouraging the screaming "Boo" from the audience. Pepper thrives in the stylish costumes, dramatic lighting and villainous acts of wrongdoing and buffoonery. Jodie Jacobs as the Genie is an excellently cast role, bring her own unique spin on the character with a renewed wild charisma and a sparkle of magic. Bold and brilliant, Jacobs turns the already larger than life Genie into a glorious character that younger audiences will remember for a long time. Jacobs also manages to play a few very impressive magic tricks (Richard Pinner).
Emmanuel Akwafo as Widow Twerkey is the show's standout performer, delivering a fabulous performance. Dressed in bombastic outfits and armed with a catalogue of pop culture songs and references, Akwafo's interpretation of the character is everything one would want in a pantomime.
The show utilises the classic pantomime gags, with plenty of moments for the audience to cheer, and call out and be delighted by the amusing antics of the characters. Yet the characters are always aware of the show, often mocking the motion of pantomimes and how these antics could be perceived as tiresome, as a frequent mockery that parents and adults will no doubt appreciate.
The staging is dazzling - with lights, glitter and glamour highlighting the sets. Colourful, warm and practical, the sets help bring to life this mystical magical world of Aladdin. Designed by Good Teeth Company, the sets are visually pleasing. Particularly impressive is the cardboard boxed mountain, with clever references to other mythical worlds (eg- A door to The Upside Down had tentacles and theme music, Narnia had white wind and many many more). It's this attention to detail and insistence to connect to a more modern audience, that sets Aladdin apart.
The costumes (Good Teeth Company) are equally as impressive, with stylish flair being prioritised, creating truly marvellous creations. The Genie, Abanazaar and Widow Twerkey in particular benefit from this and look splendid. The lighting design (Sally Furgusen) was another visual stunner, from the get go with the glowing Aladdin sign, to the strobe lighting that further enhances the whimsy of the world.
Music and song takes the forefront in this show. With musical direction by Adam Gerber and sound design by Nick Manning, the show's strongest moments both in terms of as a piece itself and audience reactions are during the musical numbers. Using medleys of iconic and well loved songs, to parody covers and original songs, this show does it all, and it does it so well. Particularly incredible is Akwafo as Widow Twerkey, managing to do a solo medley of songs with choreography, with endless bursts of infectious energy. However, the show's best moment is Princess Jasmine's belting out Olivia Rodrigo's recent hit song Vampire, as a fight is unleashed all around her.
Aladdin is a thoroughly enjoyable pantomime, but it is also a solid piece of theatre that audiences will enjoy. This pantomime is currently playing until 5th January at the Lyric Theatre in Hammersmith - for tickets and more information, you can follow the link here.
⭐️⭐️⭐️⭐️ (4*)
Gifted tickets in return for an honest review | photography by Manuel Harlan
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