Paul Elliott uses loads of glitzy costumes to tell his version of the lad who made it into the heart of the princess, yet there is a need here for sharper dialogue to give the panto a sense of its own logic.
There are some rousing numbers en route to the party popper finale, but really only one good tune borrowed from the cartoon film of Aladdin (or so I am reliably informed) and sets the festive mood as the wedding procession crosses the stage.
Scenes begin in great style and then Mr Elliott, having thrown the ball in the air frequently, fails to deliver the service.
For example, at one point the ensemble arrives in super outfits, then find they must wait upon the Grumbleweeds, who do a routine (which is excellent like everything else they do all evening), but which had nothing to do with the assembled company who just hung around.
A front cloth was needed to isolate the comics but was ignored. But Mr Elliott has used Amazing Interactives to give us a roller coaster ride with 3D spectacles into virtual reality and the Genie’s cave, which was great fun.
Then Widow Twankey’s laundry scene arrives, but remains devoid of a slapstick routine, while Don Maclean’s bustling Widow Twankey (apparently a fixture in Hippo pantos) changes from panto caricature drag into a sex-change frock and smart shoes for the wedding, which is vaguely uncomfortable.
The star is John Barrowman as Aladdin. He has obviously cost the money but he is frankly sensational in a non-stop role perfectly suited to his metabolism.
Mr Barrowman is smart, witty and accomplished in a great performance which lifts a good show up to the stars, changing its qualities into mega mode immediately he appears on stage.
He sings with remarkable power and radiates charm and simple good humour with a smile that is magical. He loves his audience and they cheer him. What a rare Petruchio he would make in The Shrew. Check it out RSC, you’ve got until the end of January.
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Production information can change over the run of the show.
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