Tag Archives: Recommended Show

Aladdin

★★★★

Hackney Empire

ALADDIN at the Hackney Empire

★★★★

“Clive Rowe is truly the grand dame of panto dames”

Stuff Shakespeare, Pantomime is probably my favourite theatrical tradition. There are not many other settings where you can have babies, grandparents, and long-suffering assorted other relatives entertained for a couple of hours by good old British drag.

And Clive Rowe knows how to entertain. His stewardship at the Hackney Empire continues this year with another barnstorming performance as Mother Twanky in Aladdin. We are transported to the land of Hack-ne-lah, for a riot of fun, anti-consumerism and disco dancing. Trust me, it works!

Do I need to explain the plot? Probably not. The main additions to the traditional tale here are the sneering, evil billionaire Mildew Funk played in gloriously writhing camp fashion by George Heyworth (better known as Bourgeois in the celebrated cabaret duo Bourgeois and Maurice), who unfortunately also happens to be Jazz’s (Isabella Mason) father. He is determined to marry her off to a fellow rich man, when her heart has already been captured by the pure and kind Aladdin (Fred Double). The biggest baddie is Abby-na-zaaar! spelt properly with three ‘As’, one ‘R’, and an exclamation mark (Natasha Lewis). She is determined to become the most powerful wizard in the world, and also the best trombonist. I did not realise my panto needed brass on stage, but turns out it really does, especially accompanying a reworked Meghan Trainor song.

Aside from the magic lamp, there’s also a magic ring (the spirit of which is played by a charismatic and ditsy Ruth Lynch), who’s provenance got slightly lost in the exposition of the opening scenes, but nonetheless is charming.

“Cleo Pettitt on costumes ramps up the camp and comedy with each one: the sparkling dirty martini glass dress is the literal cherry on top”

Rounding out the cast is Rishi Manuel as Wishy, who does a great line in slapstick comedy, and pulls the audience through the obligatory participation songs. Kat B is the coolest genie I’ve ever seen, in a plunge neck disco outfit, and towering platforms.

Rowe also directs, and has assisted Will Brenton in writing the script. Once the heavy lifting of character introductions is out the way, Rowe warms the audience up with the help of a laundry list of gags – literally. Pun after pun after visual joke came tumbling out of Widow Twanky like the assorted items out of her brilliant bag lady dress, embossed with Groucci. The outfits get more and more extraordinary – Cleo Pettitt on costumes ramps up the camp and comedy with each one: the sparkling dirty martini glass dress is the literal cherry on top.

The big dance numbers also show off the talented ensemble and heighten the energy even more, grabbing the attention of even the chatty two year old sitting next to me. Myles Brown’s choreography, using professionals, (members of the Hackney Empire’s young Artist Development Programme, and the Vestry School of Dance and Performing Arts) is both polished, but also has an inclusive, community feel.

Though Widow Twanky might have moaned about the special effects budget, I was impressed by the sheer amount of pyrotechnics on show, and especially the magical carpet ride. Steve Edis’ original song here was also a welcome respite from memories of Peter Andre singing that version.

The short second act feels like it’s also had a gin at the interval, with the jokes getting more risqué, though firmly on the side of family friendly: the children around me were confused as to why I was laughing so hard at a gag about the Ultra Low Emissions Zone. I also think they might have been bypassed by the bisexual lighting and Aphrodite statue in a certain evil lair which foreshadowed a lovely romantic tryst and twist.

Hackney Empire once again presents yet another magnificent panto and Clive Rowe is truly the grand dame of panto dames. Long may his reign continue.


ALADDIN at the Hackney Empire

Reviewed on 30th November 2023

by Rosie Thomas

Photography by Steve Gregson

 

 

Other reviews by Rosie:

Manic Street Creature | ★★★★ | Southwark Playhouse Borough | October 2023
Dear England | ★★★★★ | Prince Edward Theatre | October 2023
The Flea | ★★★★ | The Yard Theatre | October 2023
The Least We Could Do | ★★★★★ | Hope Theatre | October 2023
Artefact | ★★★★ | Playground Theatre | September 2023
Something Unspoken | ★★★★ | Playground Theatre | September 2023
I Wish My Life Were Like A Musical | ★★★★★ | Wilton’s Music Hall | August 2023
The Wetsuitman | ★★★ | Arcola Theatre | August 2023
Spiral | ★★ | Jermyn Street Theatre | August 2023
Bloody Elle | ★★★★★ | Soho Theatre | July 2023
Bones | ★★★★ | Park Theatre | July 2023

Aladdin

Aladdin

Click here to see our Recommended Shows page

 

A Sherlock Carol

★★★★

Marylebone Theatre

A SHERLOCK CAROL at the Marylebone Theatre

★★★★

“one of the cleverest and most entertaining of the current festive productions”

Sherlock Holmes was just thirty-seven years old when he was reported to have died in the Reichenbach Falls in 1891; having fallen to his death in a struggle with the criminal mastermind Moriarty. The sleuth reappeared three years later, however, to resume his detective business, but becomes filled with self-doubt and slips into semi-retirement. Meanwhile, not too many yards away from 221b Baker Street, Ebenezer Scrooge is enjoying his twilight years. Nearly fifty years on from his spirit induced epiphany one Christmas Eve, he remains a respected and admired member of society, frequently visited by his close friend and beneficiary, Dr Timothy Cratchit.

It is no surprise then, that these individuals’ paths should cross as the nineteenth century is drawing to its close. There is no historical evidence to the contrary, so the events that occur in Mark Shanahan’s ingeniously clever and witty play, “A Sherlock Carol”, are entirely plausible. If a little bonkers. After all, when you have eliminated the impossible, whatever remains, however improbable, must be the truth. Okay, the sceptical among you will be clamouring to remind me that these are fictional people, but I say ‘Humbug’ to that – let’s suspend our disbelief.

It seems that ‘A Christmas Carol’ is everywhere, so this is a perfect antidote to relieve the bloated overindulgence of Dickens at this time of year. A glorious mash up, it is recognisable as both ‘A Christmas Carol’, and as ‘Sherlock Holmes’, but the crossover is so tightly packed that characters and characteristics are well and truly mixed up. The styles as untangleable as last year’s decorations brought down from the loft.

“The cast can barely keep the smile from their faces, yet each and every one is a master at characterisation”

Holmes (Ben Caplan) is a haunted, cantankerous scrooge, insulting carol singers and bleating misanthropically at all the merry makers on Christmas Eve. He rudely shuns Watson’s (Richard James) invitation to join him for Christmas lunch. Enjoying (or rather not particularly enjoying) a melancholy drink in a melancholy tavern his solitude is interrupted by Doctor Timothy Cratchit (Devesh Kishore) who implores him, unsuccessfully, to investigate the mysterious death of Scrooge (Kammy Darweish). Holmes famously doesn’t believe in ghosts, but is nevertheless visited by a spectral Scrooge in the form of the ghost of Christmas past, present and future rolled into one. Reinvigorated he then decides to take on Cratchit’s case. A case that involves a precious blue diamond, a misplaced goose, poisoned candles, a recalcitrant maid, a bumbling Inspector Lestrade, a young Fezziwig and quite a few elementaries. Don’t ask me! Go and figure it out for yourself. You certainly won’t regret it.

The cast can barely keep the smile from their faces, yet each and every one is a master at characterisation, many of them grappling with multiple personas. Virtuosity and comedy are as intertwined as the plotlines. There is a Victorian music hall quality to it all, with the story telling and the performances taking centre stage with no reliance on modern trickery or high budget effects. Yet at the same time there is a timeless and modern quality to the presentation that appeals to all. Fans of Arthur Conan Doyle and of Charles Dickens will love it. So will newcomers. And non-fans. That covers all, I think.

At one point Watson laments the fact that Sherlock is ‘not the man I thought he was’. He hits the nail on the head. Except that this is nothing to lament, but to celebrate instead. “A Sherlock Carol” is certainly not the Sherlock you’d think it to be. Nor the Christmas Carol. But it is one of the cleverest and most entertaining of the current festive productions. You don’t need a detective’s skills to discover that. Just the ability to find Baker Street on Google Maps. And enjoy it. ‘Come, the game is afoot!’.

 


A SHERLOCK CAROL at the Marylebone Theatre

Reviewed on 30th November 2023

by Jonathan Evans

Photography by Alex Brenner

 

 

Previously reviewed at this venue:

The Dry House | ★★½ | April 2023


A Sherlock Carol


A Sherlock Carol

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