Aladdin review at Nottingham Playhouse – ‘wildly funny’
This year’s Aladdin is writer and director Kenneth Alan Taylor’s 33rd consecutive panto at Nottingham Playhouse. He’s on top form, with a production that sees the return of the thigh-slapping Principal Boy (Danielle Corlass) – something that audiences have embraced since Susie McKenna pioneered the role here – and combines clear and honest storytelling with some glorious, even outrageous departures from tradition.
Laundry mayhem has given way to flights of fancy in such episodes as the magnificently staged and executed Orient Express scene. It’s the glitzy dance highlight of a second half of visual and musical delights that includes an Egyptian Sand Dance of short tunics and wobbly moustaches that brings tears to the eyes.
John Elkington’s Twankey is a wickedly demure Yorkshire matron with her folded hands and slightly out-turned feet. She maintains her composure even when dressed as a pagoda – “It’s just a little thing I threw on” – and her reckless Dance of the Seven Veils brings the house down.
New faces include Nathan Elwick as a cheery and artless Geordie Wishee-Washee and Irene-Myrtle Forrester as a hypochondriac Genie. Tim Meacock’s sparkling designs are gorgeous. It’s all a wonderful antidote to the prevailing gloom.
We need your help…
When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.
The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.
We are fully independent, but this means we rely on revenue from readers to survive.
Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.