Review by Carla Rudgyard
Panto season is finally here, and it’s time to pick from London’s plentiful supply and hope you won’t be banging your head on the auditorium bannisters at another rendition of ‘Baby Shark’. It’s no secret that these over-exaggerated, slapstick shows are predominantly aimed at children, but Sonia Jalaly’s ‘Aladdin’ at The Lyric Hammersmith (playfully directed by Nicholai La Barrie) proves that this timeworn English tradition only needs a little shine to grant the wishes of adults and youngsters alike.
The plot follows the classic panto structure, but instead of the souks of Agrabah, we meet our protagonists (the charming Andre Antonio as Aladdin and sweet Aleyna Mohanraj as Jasmine) in Hammersmith Market. It’s boy meets girl and princess meets pauper, but the ancient cave of wonders is the middle aisle of Lidl, and they’re wearing trainers and singing pop-parodies so it’s #relateable.
I was pleased to see some archetypes flipped on their head: refreshingly, Jodie Jacobs portrays our enchanting and boisterous Genie, and deviating from the typical evil stepmother, Andrew Pepper was our lead’s dastardly devious stepfather Abanazaar. Of course, it’s packed with amusing topical references and satire ranging from Charli XCX’s BRAT summer and Emerald Fennell’s Saltburn to the discussion of the royal family’s functionality. It’s these bold and hilarious nods to the cultural zeitgeist that keep this show amusing to an adult crowd.
The performance’s infectious reworked hits (Corin Buckeridge) undoubtedly appeal to a wide range of audience members. From a charming lover’s duet of Pulp’s ‘Common People’ to Jasmine’s appropriately sour rendition of Olivia Rodrigo’s ‘Vampire’, there’s certainly something for everyone. I heaved with laughter at Dame Widow Twerky’s iconic rendition of Cardi B’s ‘WAP’, which I think in this circumstance was an acronym for ‘wash and press’, but I couldn’t shift my disappointment at the missed opportunity to see inside Dame Twerky’s launderette, which surely had the potential for some classic detergent slip-ups and frothy foam pie fights (as is tradition).
Our charismatic and rambunctious Dame and Genie were perhaps more compelling than our leads at points, which regrettably might be because it was difficult to hear the lyrics to some of their numbers as they sang (or rapped) less confidently over the live band. Nevertheless, you could definitely get the gist, and with such lively and rhythmic choreography (Alexandra Sarmiento), I was undoubtedly entertained, which I’d say is the goal with this kind of performance.
Good Teeth’s costume design is triumphant, with great curly blue sparkly wigs and humongous gowns that mimic the bubbles of Dame Twerky’s washer/dryer. It’s a christmas feast for the eyes packed with colour, glamour and fun. Similarly, the set is clever and inventive, with good capacity for on-stage sorcery and a real ‘wow’ moment when we see the magic carpet fly.
At the end of the day, this isn’t the RSC’s Macbeth. It’d be easy to say that the plot was expository and predominantly built around the songs- but aren’t all pantomimes? The combination of children and parents’ laughter heard from the stalls is enough to prove that this show is a success. The Lyric’s ‘Aladdin’ is packed with quirky humour, joyful revelry and cultural references that confirm the tradition of the pantomime evidently isn’t ‘behind you’.
Rating: ★★★☆☆ (Good)
Aladdin is at the Lyric Hammersmith, London until 5 January 2025
