The Stage

Aladdin

Published Monday 19 December 2005 at 18:00 by Peter Hepple

Back at the Old Vic for a second year, Ian McKellen has both refined and broadened his wonderful debut as a panto dame. There is no doubt that he has what it takes for the role, a true professional’s gift for timing, an outgoing personality and a surprising nimbleness, for a heavyweight actor, in the dance sequences, as well as a strong singing voice and an easily-acquired, or should it be remembered, Wigan accent.

In short, he has immediately moved into the Jack Tripp, George Lacy and Clarkson Rose traditional league, and his production colleagues, Sean Mathias and Wayne McGregor, likewise prove that panto is deeply ingrained in the British psyche.

The book, and some of the gags, are perhaps a little beyond the youngest children, even if the gay overtones are relished by many in the audience and give it an adult appeal which not every panto possesses, concerned as it is with keeping the under-12s amused.

However, the youngsters find plenty to keep them laughing and participatory, even without the singalong at the end. Roger Allam is a great Abanazar, accomplishing a neat illusion or two, and Frances Barber, as a rather weird cross-dressed character, reminiscent of the late Sid Field in wideboy vein, is also an integral part of the fun and games.

The rest of the cast, with the exception of Paul Grunert’s wise fool of an emperor, are kept busy dashing on and off the stage, with Neil McDermott’s Aladdin a bounding and boyish figure, unfazed even when encountering Tee Jaye’s extremely camp genie. Also energetic as the incompetent policemen are Matthew Wolfenden and Andrew Spillett, preparing for a gay marriage as the finale looms. “Very modern,” observes Widow Twankey. Not much opportunity for Kate Gillespie’s Princess to make much of an impression, though.