Wolverhampton Grand’s production of Aladdin is a by-the-numbers but thoroughly enjoyable pantomime that makes for a fun evening of family entertainment. Will Brenton’s retelling of the Arabian Nights story avoids the temptation to include elements from Disney’s animated version, lending an authentic air to the performance and its delivery of classic pantomime tropes.

The classic plot sees the pure-hearted rogue Aladdin (Ben Cajee) tricked into collecting a magical lamp by the wizard Abanazar (Michael Greco). The cast all do an excellent job of delivering on this beloved premise, from Cajee’s plucky enthusiasm to the charismatic villainy of Greco. Sophie Anne, who plays Princess Jasmine, elevates her character with some wonderful singing, and Tam Ryan and Ian Adams have great chemistry as the comedic duo of Wishee Washee [sic.] and Widow Twankey.

This pair in particular are critical to the show’s comedy, with the two delivering some funny one-liners and light topical jokes as they move through the traditional pantomime gags on offer. Slapstick sections involving custard pies and water guns, the ‘he’s behind you’ song, and a series of innuendo-ridden romances all feature. Brenton largely achieves the balance needed for providing laughs to such a varied audience, although Ryan relies perhaps a little too much cheap toilet humour. These jokes consistently got laughs of the children in the audience mind, so who am I to judge?

The humour of Aladdin doesn’t just derive from pantomime cliches – one section involving a karaoke performance felt very fresh and the audience delighted at the performance of The Wolverhampton Song, which cleverly incorporates every area of the city. Wishee Washee is also given a fun running gag in which he takes on the role of a rapper. Brenton tries to provide a few more modern themes to the plot too, with Aladdin being portrayed as a philanthropist who wishes to use his riches to improve the city. Jasmine meanwhile is given a few feminist themes in her desire to make a name for herself outside of her father’s grasp, and while these plot threads are left unresolved in favour of a more traditional ending, the decision taken to include them is commendable.

The production values of Aladdin are largely on point. The opening of the play features a CGI opening, which worried me that the entire production would feature animated backgrounds, but luckily these are quickly replaced by more traditional backdrops and props. Slapstick involving a washing machine and an impressive magic carpet scene make up the excellent use of props throughout the production. Twankey is given some outrageous outfits befitting the part of a pantomime dame, although this standard occasionally drops – the decision to have Aladdin and much of the backing dancers wear converse trainers struck me as a little shoddy. That doesn’t take away from the clear talent of the ensemble, who impress with tricks such as gymnastics and fire eating.

The accompanying orchestra was also largely impressive, performing both original songs and variants of pop hits with equal enthusiasm, although I felt that their sound effects, in particular the use of slide whistle, were a little cheap. In addition, there appeared to be an issue with Adam’s microphone towards the end of the play, which was a little distracting even if the actor did a professional job at working through it.

Overall, if you are looking for a light-hearted and traditional pantomime then Wolverhampton Grand’s production of Aladdin is an excellent option. Outside of the occasional cheap joke or bit of shoddiness, the performance is filled with superb acting, funny slapstick and great songs, meaning it’s sure to appeal to all ages.

Rating: 4/5

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