BWW Reviews: ALADDIN AND HIS WONDROUS LAMP Brings The Fun of Pantomime Back To Sydney This Winter

Saturday 4 July 2015, 3pm, State Theatre, Sydney

Bonnie Lythgoe's latest production, ALADDIN AND HIS WONDROUS LAMP invites audiences to get involved in the magic of pantomime. Bringing together performers from reality and daytime television and popular culture with a troupe of dancers and the classic Middle Eastern folk tale, Lythgoe's latest pantomime is a fun, light entertainment, aimed at youngsters, but not forgetting to engage their adults.

Utilizing bright, glitter adorned two dimensional sets, keeping the images simple to engage young minds that are easily distracted; the story the evil Abanazar's (Josh Adamson) plot to procure the magical lamp unfolds. Blending elements from the Middle East and China, the original setting of the story before it was given the Disney treatment, costumes and images are inspired by the exotic Arabian dance costumes, Han Chinese dress, blending with modern elements that provide humorous references for young and old.

Drawing on the traditional pantomime version of the Aladdin story rather than the Disney movie, there is more focus on Aladdin's family including his mother Widow Twankey (Ian 'Dicko' Dickson) and his brother Wishee Washee (Kev Orkian). The 'Slave of the Ring' (Prinnie Stevens) serves as a narrator and guardian over Aladdin(Mat Verevis) whilst he searches for the lamp and eventually releases the 'Genie of the Lamp', the scantially clad Beau Ryan. Aladdin's motivation to agree to Abanazar's request comes in the form of his desire for riches to prove himself worthy of Princess Yasmina's (Lauren Brant) hand in marriage despite The Empress (Jessica Rowe) and The Emperor's (Jono Coleman) objections.

Supported by a troupe of dancers, the story is told through song, ranging in style from up beat high energy to quieter romantic moments, all drawing on blends of pop music. Younger audiences appear to appreciate the action filled numbers rather than the quieter, still, emotional songs. The lead actors, most of which do not come from live theatre origins but selected for their celebrity status, sing to backing tracks, complete with recorded backing vocals that even include pre-recorded tap-dancing sounds which is disappointing knowing that there are performers in the industry that could dance and sing live. The singing quality varies greatly. Verevis and Adamson are stronger whilst Stevens and Brant lack the requisite strength and consistency for a live performance. Ryan carries off the Genie's rap but a final ensemble number proves that he does not have a singing voice and has been selected more for is physique rather than his performance ability.

Standout performances come from Dickson and Orkian. Dickson has created a wonderful caricature and delivers his performance with the right pace, energy and comedic timing. Orkian gets the audience involved with his level of energy and encouragement of participation. He has a wonderful timing that allows the ideas to sink into the young minds being bombarded with stimuli, repeating questions to give children time to respond (or have their adults prompt them to participate). Portraying the loner, misfit character assists in making him likable as comments like, "will you be my friend" draws on the youngster's nature to care for others, ensuring that each time he appears, the audience does call out a welcome. Wishee Washee is the only character that consistently receives the requisite welcome when he appears indicating either a lack of understanding of the pantomime audience participation, audience engagement with the character or pace and presentation of a character's arrival.

Verevis is likable as Aladdin but lacks a connection to Brant resulting in a weak romantic plotline, instead making the retrieval of the lamp and the family stories from Widow Twankey and Wishee Washee more memorable. Whilst it is understandable that the Emperor and Empress characters be somewhat one dimensional for simplicity for the younger audience, there is also a lack in connection to their daughter Princess Yasmina. Rowe's rigidity as the Empress and Coleman's simpering Emperor fail to properly convey the father's support of his daughter, his submission and heartfelt devotion to his wife and any underlying love that the Empress may have for her daughter, instead appearing as if status is the only important factor.

Whilst the show is potentially a little long for younger audiences, a reduction in the bouncing around of the preprimary aged children noticeable partway through the second act, the two hour performance is engaging for the primary school children. There is enough material to keep the adults engaged, drawing on popular culture, references to the performers television origins and subtle innuendo that thankfully sails over the younger audience.

ALADDIN AND HIS WONDROUS LAMP is a nice introduction to theatre for young audiences and an opportunity for families to be entertained together. Whilst other productions aimed at children are pitched only at the youngsters this also caters to the adults that have to attend and, in contrast to musical theatre, allows and expects audience participation and active engagement enabling parents a reprieve from the worry that their child is being too energetic or vocal during a show.

ALADDIN AND HIS WONDROUS LAMP

State Theatre Sydney

3 July - 12 July 2015

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