Review: BIRMINGHAM ROYAL BALLET'S ALADDIN, Sadler's Wells

Fresh from taking part in the dazzling nationwide celebration of Kenneth MacMillan's work, a severe change of gear is required as Birmingham Royal Ballet now turn their attention to Aladdin, for a brief run at Sadler's Wells.

Aladdin is a three-act ballet, but it's Act One that will perhaps linger the longest in the memory for the sheer amount that is packed in over the course of 51 busy minutes.

Once Aladdin (a spritely Mathias Dingeman) is captured by the Mahgrib (Valentine Olovyannikov) what follows is a cross between Nutcracker's divertissements and George Balanchine's Jewels with an (almost endless) procession of set-pieces.

Young viewers will adore the colours and the beauty of different Sapphires, Emeralds, Rubies and Diamonds who fill the stage. Jenna Roberts moves with a particular effortlessness as the lead Sapphire, and Nao Sakuma and Tyrone Singleton are a fearless partnership, packing a punch with some brave lifts and jumps in the Rubies pas de deux.

Sue Blane's glorious costumes are worthy of praise. You would be hard pressed to find a better-dressed cast anywhere, from their tutus to their traditional Arabian dress.

A ballet with such a knowing sense of fun is a rarity. The pure pantomime of the mystical Mahgrib character, with his wildly gesticulating arms and sweeping cloak, is entertaining throughout, similarly the incessant pluckiness of Aladdin as he bounds enthusiastically about the stage. The characters are more caricatures but the show is stronger for it, as the opulent ensemble scenes can be enjoyed as almost a separate component.

Dick Bird's striking set is full of unique touches, including the gruesome bones of a ribcage that create the entrance to the Mahgrib's cave, with spiky icicles that hang for the ceiling (perfect for Halloween). Later on, the authentic decor in the bath house, complete with running water, and the dinky little sedan chair in which Princess Badr al-Budur (Momoko Hirata) makes her entrance are all nicely thought out touches.

Hirata is particularly regal Princess, and delicate and elegant in her phrasing too. She dances Bintley's choreography with great finesse and feeling. Although she and Dingeman's Aladdin lack some chemistry, it's irrelevant in a show of this nature - the audience are here for the fun.

Tzu-Chao-Chou's genie (or The Djinn of the Lamp) is a whirling dervish of energy in Act Two, flying across the stage with a controlled urgency. He also works hard to convey his emotions through all that blue paint; his incredible grin when the lamp is returned to him at the end is particularly sweet.

The simple and clear use of mime makes this production a perfect one for children who will likely have the reference point of the Disney film too. However, at just shy of three hours this will be too much for most youngsters' attention spans. Although there are a few overly embellished scenes that could be cut down to make for a pacier experience, Aladdin is a luscious and indulgent visual spectacle, and BRB's ambition should be applauded.

A full-length ballet that is so universally accessible can only be a good thing for dance, and in addition to the obvious care taken in every element of the show, this Aladdin deserves to be celebrated.

Aladdin at Sadler's Wells until 2 November

Photo credit: Bill Cooper

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