Panto Review: Aladdin (Lyric Hammersmith Theatre)

Review by Sam Waite

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It’s tiiiiiiiiiiiiiiiiiime! Panto season is well and truly upon us, and the offering at the Lyric Hammersmith Theatre this year is a spellbinding Aladdin. With such classic, well-told tales there will always be new touches to keep each iteration alive, and this year the Lyric have added Cardi B, the famed middle aisle of Lidl, and the teen-angst of Olivia Rodrigo to their wish list.

Scripted by Sonia Jalaly, this Aladdin finds our hero hanging around Hammersmith market, where he works at his mum’s business, ‘Widow Twerkey’s Wishy-Washy’, which he is shocked to learn is visited by none other than Princess Jasmine. Their goofy flirtations begin in earnest – “A-lad-in your DM’s,” he sounds out his name, to be met with, “Jas-m-in your dreams mate!” Soon enough, of course, the two lovebirds fall hard, despite her stepfather Abanazaar’s refusals, softened when he discovers that Aladdin is key to him finding The Genie’s lamp.

Although there are modern touches and nods to pop culture, the story is the one you know and love from childhood. Of course, the real joy of a panto is in its charming, energetic cast, and the song and dance numbers that populate their fictionalised Hammersmith Market. Composer-arranger Corin Buckeridge and musical director Adam Gerber do a fabulous job of both weaving modern pop songs into the show, and of allowing their shoe-horned nature to deliberately stand out. When Widow Twerkey enters with a “Wishy-Washy” take on Cardi B’s “WAP” the crowd are in quick hysterics, while greeted later with the slow-building realisation that Abanazaar’s villain song is, in fact, an ominously arranged “Von Dutch” by Charli XCX. Seems Brat summer is still going at the palace! And kudos to sound designer Nick Manning for somehow keeping these disparate sounds and genres in a surprisingly harmonious balance!

The cast all do stellar work, wringing every beat of comedy from Jalaly’s script. Andre Antonio is a suave, charming Aladdin, until he comes face to face with a pretty girl and quickly loses all composure. Antonio’s song and dance (especially dance!) skills are on strong display from the get-go, with an opening Bruno Mars number letting us know that this Aladdin is much more modern, but as cheeky and likable as the animated version many of us grew up with. Opposite him, Aleyna Mohanraj is bold and playful as Jasmine, bringing some real pathos to what could be reduced to a damsel in distress role, and unleashing a strong set of pipes on Olivia Rodrigo’s “Vampire,” cleverly re-attributed as a declaration against her wicked step-father.

Speaking of, Abanazaar himself is a riotous comedian in the hands of Andrew Pepper. Leaning into the villainous role, his introductory XCX number is both threatening and hilarious, and his ongoing backstory as Widow Twerkey’s line-dancing rival is a great source of comedy. Twerkey is played by Emanuel Akwafo, a performer so larger-than-life he seems born to play a panto dame. Decked out in Good Teeth’s over-the-top costumes, complete with “coin operated” slogan or a victory trophy as hair, Akwafo brings a joyous, seemingly unending joy to the role. Later, when romantically paired with Jodie Jacobs’ Genie, the two are a duo to be reckoned with, and a surprisingly amorous one for family theatre!

 Good Teeth’s set design is, unsurprisingly, minimal – this is a pantomime after all, and will need to be packed away in no time at all! However, what they have created ads colourful touches of whimsy to the production, be it Sam & Ella’s Chicken Shop or Dave’s Pets, the Wishy-Washy’s neighbours in the market, or the ornate throne room at Saltbum, domain of the maniacal ruler Abanazaar. A particularly fun set-piece comes in the form of the mystical cave housing the lamp, hidden away in the mysterious Middle of Lidl. Here, carboard boxes are adorned with the names of various fantasy lands found within – Hogwarts, Narnia, and even Milton Keynes!

Nicholai La Barrie keeps up the kind of infectious energy a crowd expects, perhaps even demands, of this most theatrical of festive traditions. Barrie knows better than to take any of this seriously, even Jasmine’s epic eleven o’clock number is accompanied by an over-the-top, slow motion fight sequence which find a new physical joke to land every time the energy threatens to become that bit too severe. This willingness to have fun and to lean into buffoonery is present across the cast and company, and really helps to establish Aladdin as a marvellous family night out. Add in the striking, energetic choreography from Alexzandra Sarmiento, and the joy becomes even more infectious!

 If you like singing, dancing, festive fun, and laughing out loud at even the most cringe-inducing jokes, then the Lyric Hammersmith’s Aladdin should be right up your street! With enough jokes for adults to keep parents happy, and plenty of silliness for kids of all ages to enjoy, the appearance of actual Cardi B (okay, an ensemble member, but imagination is key here!) and a few nods to a certain African Gray really help cement this as a perfect panto for the TikTok generation.

Aladdin plays at the Lyric Hammersmith Theatre until January 5th 2025

For tickets and information visit https://lyric.co.uk/shows/aladdin-2024/

Photos by Manuel Harlan