REVIEW - Aladdin, Riverhead Rep, Louth Riverhead Theatre, 9th - 13th April 2025 - *****
- theatrereviews
- Apr 10
- 3 min read
It’s an onslaught of unadulterated magic, mayhem and big belly-laughs at the Louth Riverhead Theatre this week. Supposedly the theatre’s first ever Easter pantomime, the recently launched Riverhead Rep off-shoot company has delivered an absolute blinder of a show. Granted, not without its opening night bumps, (a couple of minor technical issues, and I think some plot was cut out at one point, and I’d also LOVE to know if the Dame falls over during the ghost routine every night…), however, this rumbustious, riotous family show is a gleeful celebration of traditional panto. Delivered with vim, vigour, and a foot-to-the-floor pace, Aladdin is a streamlined and unmissable hit for the young and old alike.
I say streamlined because, of the pantomimes I’ve seen this year (‘Dick Whittington’ by Louth Playgoers, ‘The Snow Queen’ by Lindsey Rural Players, and ‘Dick Turpin’ by Heckington Players), this offering had a cast of just seven actors, and no chorus per se, however, an excellent young dance company Next Generation Dance, who performed four big numbers, as well as popping up here and there in a series of cameos. The principal cast trip through their standout comedy set-pieces, their crowd-cajoling songs and memorable panto-schtick with fine fettle. From the Princess’ polished, hip “Jai Ho” opener, to the genuinely sweet (and cleverly staged) “Rule the World” which takes Aladdin into the front row on a magic carpet, the numbers rattle along, with space made for two high-energy, comedy numbers in the shape of the dynamic duo of the Slave of the Ring and Aladdin’s “Together Again” showstopper, and also a hilarious crooning, swooning send-up with Abanazar’s rendition of “Little Doll”, punctured by the Dame’s outlandish, burlesqued dance moves.
The story is slight, and ticks along with infrequent appearances by a gloriously typical “‘ello-‘ello-‘ello-what’s-all-this-then” PC Ping (thankfully sidestepping any Oriental parodying) and the famous Genie, played with an avuncular Yorkshire twang, with both roles being portrayed by James Burgess. Amber Ackermann’s Slave of the Ring carries the brightest smile, and it’s a tour-de-force performance (if there was any space for an extra song, she’d be a strong contender to take it). Meanwhile, entering from Stage Left is Gary Starkie’s grimacing Abanazar. It takes Starkie no time to get the audience working ‘against him’, and he shares a great repartee with all the other cast members, in particular John Hewer’s Widow Twankey. Taking centre-stage but never floundering (unless he’s fallen over, whether it be intentionally or otherwise), Hewer evokes memories of classic comics from days gone by; he has the facial dexterity of Les Dawson, the comedic flounce of John Inman, and an ability to reach over the heads of the kids to reach the ears of the adults with throwaway lines of ribald innuendo. Visually dazzling and different on every stage entrance, his bulky 6ft+ frame belies his ability to contort himself around the stage with comic finesse. Equally lovable, and a clear expert at whipping an audience into a frenzy, is Michael Courtney, playing Aladdin’s uncle - Wishee. Michael is a comic performer in the truest sense, admirably bouncing off Starkie and Hewer (in particular), and the key driver of many of the comedy set-pieces, classic but reimagined, and all showstoppers. His energy is infectious, and his moments working directly with the audience demonstrate his virtuosity as The Comic.
The beating heart of all the hi-jinks comes from Izzy Bunten’s Aladdin, and Izzy Hibbard’s Princess Jasmine. Youthful, playful and providing genuine emotion, Hibbard’s song numbers bring a taste of the East, while Bunten somersaults around the stage, escaping from PC Ping and fighting Abanazar, while bringing a ‘cheeky chappie’ persona to an otherwise, and frequently, restricting role.
Her biggest scenes are with Abanazar during the cave sequence, and it’s here, in particular, I wish to doff my hat to the fantastic set designers and construction teams. This production of Aladdin clips through alternating full-stage painted cloths and full-stage sets, with the cave being the real jaw-dropping jewel in the crown.
Aladdin has the whole package; even the crew are frivolously detailed as Pierre Lumierre as the lighting designer, Arthur Story as the writer and, of course, Seymour Scenes as the director. This is clearly an ensemble company that is enjoying themselves, and it’s one of the most infectiously fun shows I’ve seen.
Aladdin is being performed at the Louth Riverhead Theatre at various times, until Sunday 13th April 2025. Click on the link below to buy tickets.
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