Tag Archives: Phillip Money

Aladdin

★★★★

Cambridge Arts Theatre

ReviewsAiesha Pease, Al Lockhart-Morley, Aladdin, Ben Carter-James, Cambridge Arts Theatre, Carl Au, Celeste Williamson, Chris James, Dave Murphy, Hettie Pearson, Iroy Abesamis, Isaac Stanmore, Jak Allen-Anderson, Jared Thompson, Kevan Allen, Matt Crosby, Megan-Hollie Robertson, Michael Gattrell, Mike Robertson, Morgan Broome, Phillip Money, Rachel Lumberg, Richard Hubert Smith, Rolan Bellthespyinthestalls

Aladdin

Cambridge Arts Theatre

Reviewed – 7th December 2021

★★★★

“a super night’s entertainment to be enjoyed by all”

The Producer before the start of this show asks the audience to ‘go ballastic’ and the packed house duly obliges, knowing just when the right times are to boo and cheer, and gives the show a worthy ovation at the end of the evening.

And I am not surprised, for this is a wonderful family show, directed by Michael Gattrell, and performed by a very strong cast. The singing is powerful, the dancing is energetic. There isn’t a great deal of plot or tension, but this is panto! The show programme offers just a ten-sentence plot synopsis but there is so much more going on here and for those expecting a show within the tradition of Christmas pantomime, this production ticks all the boxes.

Matt Crosby as Widow Twankey sets the standard for the show. Batting his over-large eye lashes in a rendition of “Hanky-Panky” (it rhymes with Twankey!), he sings in confident gravelly bass tones, and we know we are going to be in safe hands.

Aladdin-Aiesha-Pease-Spirit-of-the-Ring-and-Rolan-Bell-Abanazar-©-Richard-Hubert-Smith

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Aladdin-Isaac-Stanmore-Wishy-Washy-and-Matt-Crosby-Widow-Twankey-©-Richard-Hubert-Smith

Aladdin-Rolan-Bell-Abanazar-©-Richard-Hubert-Smith

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Aladdin (Carl Au) is a wide-eyed dreamer with a Scouse accent. Both Au and Isaac Stanmore as Wishy-Washy, in a delightfully over-the-top performance, show cheeky charm and play well together. A messy laundry slapstick scene involving Twankey and Wishy-Washy is a highlight of the evening for many.

Rolan Bell as Abanazar devilishly milks his inner villain, declaiming rhyming couplets in velvety tones. Flashes and smoke bombs welcome his every entry.

Princess Poppy (Megan-Hollie Robertson) is the necessary love interest but she and Aladdin need to work a little more on their spark if we are to believe in their secret love.

The all-important Genie is played by Jak Allen-Anderson as a very tall, acrobatic game show host whilst Aiesha Pease is The Spirit of the Ring who helps move along the plot and enjoys some powerful soul numbers.

All the principals get their own moment in the spotlight in this show and all sing brilliantly. Au excels in his ballad as he flies on the magic carpet to rescue the Princess. There is some nice stage craft here too though Aladdin needs to relax more into it. The most surprising turn of the evening is Abanazar’s rock inspired solo “I Want it All” but the standout song of the show, amongst several contenders, is Poppy’s poignant solo as she looks to find the confidence to start living her life, beautifully performed by Robertson.

The stage comes alive in each of the full ensemble numbers. With music from a live four-piece pit band (Musical Director Dean McDermott) and singing reinforced by a six-strong ensemble led by the ever-smiling Dance Captain Hettie Pearson, the dance choreography by Kevan Allen is effective and performed with high energy throughout.

Writer Al Lockhart-Morley provides an engaging script with strong and funny repartee. There is a small amount of innuendo for the older ones in the audience to knowingly chuckle at, but this show isn’t smutty. And there are no politics either. Otherwise, with just a few references to lockdown, there is an endless flow of the corniest cracker jokes, puns and amusing word play. Gently mocking references to local Cambridge amenities draw appreciative laughs.

This production is a super night’s entertainment to be enjoyed by all. Princess Poppy says at one point, “it is incredible, but it isn’t true” and that could apply to this whole idea of pantomime. But this is the season for it, and that is just fine. Oh yes, it is.

Reviewed by Phillip Money

Photography by Richard Hubert Smith

Aladdin

Cambridge Arts Theatre

Previously reviewed at this venue:

Absurd Person Singular | ★★★ | September 2021

Copenhagen | ★★★★ | July 2021

Dial M For Murder | ★★★ | October 2021

Tell me on a Sunday | ★★★ | September 2021

The Good Life | ★★ | December 2021

Click here to see our most recent reviews

The Tempest

★★★

Jermyn Street Theatre

ReviewsAnett Black, Jermyn Street Theatre, Jim Findley, Julia Cave, Lynn Farleigh, Max Pappenheim, Michael Pennington, Neil Irish, Peter Bramhill, Phillip Money, Rachel Pickup, Richard Derrington, Steve Gregson, Tam Williams, The Tempest, Tom Littler, Whitney Kehinde, William Reynolds, William Shakespearethespyinthestalls

The Tempest

Jermyn Street Theatre

Reviewed – 30th November 2021

★★★

“the verse reading of Michael Pennington in this space is inspiring”

How can a venue as intimate as the Jermyn Street Theatre manage a production of The Tempest? Director Tom Littler pulls it off with an ensemble of just eight players and the mighty Michael Pennington as Prospero. The set (Set & Costume Design by Neil Irish & Anett Black) hints at a desert island existence: bits of boat, an oar, sheeting that could be old sail, seashells. Wavy shelves line the walls, Prospero’s all-important books lying this way and that. An island soundscape pervades the space (Composer & Sound Design by Max Pappenheim), waves roll along the beach, exotic birds tweet.

Prospero, using a model boat as an aid, conjures up a storm and we see a group of mariners behind a gauze fearing for their lives. Pennington possesses a calm authority which emphasises the frailty of the enchanter. The honey tone of his speaking voice is pleasing to the ear but, with book in hand throughout, he is limited in his movement. Communication with the audience is not as intense as it could be in this miniature space but when he does glance up with a whimsical smile and a twinkle in his eyes, we see a master actor at work.

The success of this production lies with the superlative actors’ skills in doubling roles. Richard Derrington and Peter Bramhill have two double acts. Firstly, as Antonio and Sebastian, in silk dressing gowns, they are snide and condescending towards the King’s advisor Gonzalo (Lynn Farleigh) and then menacingly circle the sleeping King (Jim Findley), knives in hands, plotting murder. Some moments later and they are back as Stephano in a thermal onesie, and Trinculo in tails and bowler hat – the comic relief, breaking the fourth wall with their drunken jests. Tam Williams has no easy task doubling Caliban – half naked, bruised and scarred, a cowl covering his head, at his best when whispering the pathos of the creature – and a rather wet-behind-the-ears Prince Ferdinand in striped pyjamas.

Whitney Kehinde’s Ariel holds everything together. Harnessing her inner Puck, she weaves around the stage, arms whirling. Two of her songs stand out – Full Fathom Five and Where the Bee Sucks – in which the verse becomes part of her magical incantation emphasised by haunting electronic effects.

Rachel Pickup’s Miranda lights up the stage. Her love-at-first-sight scene is delightful although this Ferdinand is less convincing in showing that the attraction is mutual. And Miranda’s wide-eyed amazement at seeing more humans for the first time drew many smiles behind the masks of this audience.

This is an effective but low-key Tempest. Prospero’s valedictory speech in which he intends to break his staff and drown his book is deliberately underplayed and the Gauguin-inspired wedding masque does not convince. But the verse reading of Michael Pennington in this space is inspiring. The Jermyn Street Theatre’s auditorium, in which you can hear every nuance of every word, is as much the star of the show as the actors upon the stage.

Reviewed by Phillip Money

Photography by Steve Gregson

The Tempest

Jermyn Street Theatre until 22nd December

Previously reviewed at this venue this year:

Footfalls and Rockaby | ★★★★★ | November 2021

This Beautiful Future | ★★★ | August 2021

Click here to see our most recent reviews