UK Theatre Network

When I was one
I ate a bun
The day I went to sea
I jumped aboard a Pirate Ship
And the captain said to me
We’re going this way, that way,
Forwards, backwards, over the Irish Sea
A bottle of rum to warm me turn
That’s the life for me! 

Of course there aren’t really any pirates in Cinderella, which is principally a romantic fairy tale story, but the kids love them and so a singalong of this song  was included. There is much to enjoy in this family friendly show that marks Jenny Éclair’s debut in panto as a funky Fairy Godmother who also serves as the narrator. The lavish production is geared completely towards children and there is plenty of audience participation to make sure the kids don’t get bored. The sets are stunning, they seem to come right out of a fairy tale picture book, and the costumes are colourful and original (sets and costume design by Terry Parsons). The getup of the Ugly Sisters is especially outrageous with Eugenie wearing a whole Christmas tree as a dress at one time.  No costs were spared. There is even a real horse-drawn carriage to take Cinderella to the ball. 

We all know the “rags to riches” story of the kind-hearted Cinderella who is treated abominably by her horrid stepsisters but finds true love and happiness when she meets Prince Charming. In this production the Ugly Sisters Beatrice (Graham Hoadly) and Eugenie (Paul Burnham) are veritable monsters and enjoying every second of it – and so are we when they are cracking jokes about us after returning from a holiday in Slough. Gary Wilmot is wonderful as Cinderella’s best buddy Buttons whose feelings go far beyond friendship. His comic timing is spot on: “He is so stingy. When he had a hip replacement he asked if he could keep the bone for the dog.” If it wasn’t for the gruesome stepsisters, Wilmot’s lovable character would steal the show with his jokes and antics. Robert Aldous is quite good as Cinderella’s father, the quirky Baron Hardup, and Ben Redfern is funnily efficient as Dandini. 

This show is a great night out for the youngsters. It runs until 15 January 2011 at the Richmond Theatre.

Richmond Theatre,The Green, Richmond, Surrey, TW9 1QJ

How do you get yourself in the mood for Christmas? Wrapping the presents? Work’s Christmas Night Out? Finishing the shopping? Taking the kids to see Santa? Well for me it is going to see a Pantomime (I usually see at least 10 each year!).

At Glasgow’s King’s Theatre it is a start studded panto indeed for Sleeping Beauty. I’d Do Anything Finalist Keith Jack as Prince Joseph of Jordan Hill, River City’s Lorna Anderson as Princess Beauty, Altered Images songstress Clare Grogan as evil fairy Carabosse and Rab C Nesbitt’s Jamesie Cotter, Tony Roper as her Henchman Hector and topping the bill Karen Dunbar. And Ms Dunbar proves why she is top of the bill for this pantomime, with a first half that was nearly a full cabaret show. Her energy and vocal talents shone in her rendition of Step Back In Time and her comic timing was evident throughout the show, but no better example than when dealing with shout outs from the audience – her quick wit making her a gem for panto. Her comedy “romance” with Tony Roper was a good pairing, allowing two comics lots of time to play and the clever reworking of West Side Story’s Maria is a comic performance not to be missed.

A revelation in this show was Lorna Anderson – her presence on the stage was excellent and she certainly matched (and on many occasion even topped) Mr Jack’s singing voice in their powerful duets. I would have liked to see her with a more “princess-y” dress for her “birthday party” but that is a minor issue in what is mostly a well costumed show. Top marks for this show must go to Musical Director/Arranger, Pamela Dunsmuir (or as the kids in the audience now know her, Auntie Pam), as the songs were well paced and sounded great, and her small live band were extremely tight on the night too. I am usually a fan of Eric Potts pantomime scripts, but did feel a slight lack of the usual “sparkle” or “magic” that the Kings Theatre usually produces, however as the cast get used to the show and continue to add their own topical material (there were already references to the hurricane and it was only just happening outside at that moment!) I’m sure this will return.

Rounding off the comics in the cast was Arron Usher as Jimmy Jingles the Jester. Although his first Kings Pantomime, his pedigree of many years working on the East Coast pantomimes certainly shines through. Although given the thin end of the wedge with the comedy dialogue (the big lines seem to have gone to the TV comics) his physical humour and interplay with the cast and audience more than make up for it. It is also pleasing to see the roles of the King and Queen delivered with some gusto – Kathryn Howden as Queen Fiona was a joy and her infectious laughter had me giggling whenever she spoke.

With many other highlights in the show including a Dragon, a clever version of “Happy Birthday” by Ms Grogan (who takes great relish in her evil performance in her very first pantomime – I’m sure she’ll be back!), a great chorus who dance exceptionally well, lavish walkdown costumes and more songs than you can shake a stick at this pantomime is a jam packed evening of entertainment. With the weather not getting any better outside, get a warm rosy glow from a great family show, that even the adults will enjoy.

Listings

Fri 2 Dec – Sun 8 Jan (please call the box office for full details)

Signed Performances: Wed 14 Dec 1pm & Wed 21 Dec 7pm

Audio Described Performances: Wed 14 Dec 1pm & Wed 21 Dec 7pm

Captioned Performances: Thu 22 Dec & Wed 28 Dec 2pm 

Ticket prices: £7.20 - £24.75

Box Office: 0844 871 7648 (bkg fee)

Schools and group bookings: 0844 871 7602

www.atgtickets.com/glasgow  (bkg fee)

Aladdin

The Customs House, South Shields

For me, the festive season officially begins when I review my first pantomime or Christmas show – and I cannot think of a more magical or wondrous way to kick things off than this year’s production of Aladdin at The Customs House, South Shields.

As tradition dictates, the cast is led by Ray Spencer MBE and Bob Stott as Tommy Wishy-Washy and Widow Dotty Twanky, respectively. The linchpins of ‘the little panto with the big heart’ are joined by fellow stalwarts Peter Darrant (The Evil Abanazar) and Graham Overton (Sultan Sanddancer), whilst Afnan Ifthikar (Genie) returns for a third consecutive season and Alice Brown (Princess Amira) performs in her second. Steven Lee Hamilton (Aladdin), Iain Cunningham (PC Hacker) and Ryan Lynch (PC Blaggitt) all make a welcome return to the South Tyneside venue, having previously appeared in pantomime at The Customs House, whilst Christina Berriman-Dawson (Slave of the Ring) joins the team for the first time.

Of course, everyone knows the rags-to-riches tale of the poor, but honourable, laundry boy who defeats an evil sorcerer and wins the heart of a beautiful princess. However, I doubt that you’ll have ever seen the story told with as much zip, charm and attack. Indeed, the sheer energy, enthusiasm and effort, evident on stage, enchanted and mesmerised the audience in equal measure and had spirits soaring higher than Aladdin’s marvellous magic carpet.

The production values associated with this technically ambitious production are second to none. Paul Shriek is to be commended for his riotously colourful comic-book sets and the vast array of costumes which vary from being bold and bright to outrageous and outlandish to gloriously garish, depending upon which character is wearing them. The script, co-written by Graeme Thompson and Ray Spencer, contains more slapstick, comedy capers, crafty cons, sing-along songs, silly jokes and festive frolics than you can shake a seasonal stick at and it sparkles as brightly as the legendary jewel of Jarrow.

Solid performances are delivered from each and every member of the cast. Ray Spencer and Bob Stott lead in the comedy stakes, with their inimitable brand of madcap mayhem being delivered in the style of true vaudevillians. They are ably supported by Graham Overton as the bumbling Sultan and Iain Cunningham and Ryan Lynch as the inept policemen. Steven Lee Hamilton, who is carving himself an impressive career in the world of musical theatre, shines brightest during his musical numbers, whilst Afnan Iftikhar has been perfectly cast as the Genie of the Lamp and puts in the best performance I have ever seen him deliver. Alice Brown and Christina Berriman-Dawson take two roles which could easily be overlooked, that of Principal Girl and Slave of The Ring, respectively, and make them absolutely integral. And only Peter Darrant could play Abanazar with more mince than a Dickson’s pie and still keep the character sinister and menacing.

This production of Aladdin is packed with magic and mystique and contains more Eastern promise than a certain well-known brand of Turkish Delight. So, climb aboard your magic carpet or take a rickshaw ride to The Customs House and experience some real treasure of the Orient.

Steve Burbridge.

Aladdin runs until Saturday 7 January 2012.

Snow White & the Seven Dwarfs

Whitley Bay Playhouse

Well, the programme notes promise to “take the original ‘Snow White and the Seven Dwarfs’ fairy tale and give it a new twist as only New World can!”  But, that rather ostentatious hyperbole aside, Whitley Bay Playhouse’s seasonal production has an awful lot going for it.

Okay, so it may not boast big-name star-signings, spectacular special effects and all manner of showbiz schmitz, but what it does do is provide a double-dose of festive fun for kids and adults alike.

The cast is, undoubtedly, led by the North East’s number-one comic Steve Walls who, as principal comic, Muddles, wins the entire audience over with his child-like charm and near-the-knuckle one-liners. Walls works the audience like a true professional and has a natural affinity with young and old. He is superbly supported by ‘Byker Grove’ actress Anne Orwin (who despite lacking the glamour of Anita Dobson, Lesley Joseph, Vicki Michelle, Linda Lusardi, and other more famous ‘queens’) plays the role of Queen Griselda perfectly.

Walls and Orwin are, in my opinion, the linchpins of this show and they are to be commended for their energy and enthusiasm, which never flags once. Lucy Dixon, from ‘Waterloo Road’, and Jonny Freeman, from ‘M.I. High’ play Snow White and Prince Florizel, respectively, and - it must be acknowledged - do their best with the most unrewarding of panto parts – principal boy and principal girl. Simon Barnard is a suitably stupid henchman as Herman and Hazel Pude completes the line-up of principals as the Forest Fairy.

The dwarfs are played by members of the ‘babes’ with recordings of adult voices dubbed in place of their own. Although this had the potential to go disastrously wrong, in this case, it worked reasonably effectively.

However, what really makes this pantomime a success is its faithful re-telling of a well-loved fairy tale. All the necessary magic ingredients are there – a bitchy baddie to boo at, a sweet, simpering Snow White, a proud and pompous Prince, a jovial jester, a hapless henchman a flirtatious fairy and a magic mirror.

It just goes to show that pantomime does not only rely upon big-names, big-bucks and big ideas to succeed. Instead, other production companies could do much worse than take heed and do what this show does - bring the magic and enchantment of the story to a new generation.

Steve Burbridge.

Runs until 3rd January 2011

On the first day of Christmas my true love gave to me – a cartilage from a bear’s knee!

Sleeping Beauty is a spectacular family show with a beautiful script by George Wood, a perfect cast, a delightful set, and vibrant musical numbers.   

The engaging story begins on Beauty’s eighteenth birthday and her first venture into the world outside the castle; her parents have kept her locked up to protect her from an evil spell.  While Beauty enjoys her freedom the Jester Jangles takes us back to the day when Beauty was born – a stork literally dropped her into the arms of Nurse Penny. Another baby from a poor family was adopted and Beauty and Jangles grew up together under the ever watchful eye of Nursey. However, Nurse Penny made one fatal mistake – she failed to invite the evil fairy Carabosse to celebrate Beauty’s birth. Carabosse arrives in a dragon chariot pulled by ravens. She is not amused by Nursey’s negligence and declares that Beauty will die on her eighteenth birthday. Thankfully, the Lilac Fairy is able to alleviate the spell to 100 years of sleep. The years pass and Beauty is finally celebrating her eighteenth birthday. On her first day out she meets the charming prince Antonio of Aragon in a romantic forest and they fall in love. However, Carabosse has already concocted an evil plan – Beauty and her entire household fall into a deep, long sleep and Prince Antonio is taken prisoner by Carabosse. Now it is up to Jangles to save Beauty.

George Wood’s characters are well developed and engaging. Anita Dobson is having a field day playing the Villain. Her rendition of “Don’t Stop Me Now” is absolutely hilarious and she gets as many laughs with lines such as “Prepare to be flame-grilled, morons!” as the wonderful comic Tim Vine does as the sweet, sympathetic Jangles. Vine has a true rapport with the audience and his “Twelve Days of Christmas” had everyone call for encores. Nurse Penny, played by the director Fenton Gray, is a cross-dressing delight. Plagued by her conscience for many years Nursey finally has the chance to redeem herself by disguising herself as a French beautician to gain access to Carabosse’s lair to save the Prince and consequently Beauty.         

The costumes and the set are colourful and charming - the backdrops appear to be taken directly out of a fairy tale book.  The director uses video projections onto a gauze curtain for his introduction to the story and for crucial events such as the climactic fight against the dragon. There are many wondrous, magical scenes in this production such as when Beauty’s toys come alive in the night of her eighteenth birthday.

The audience was involved throughout the performance and the children seemed really taken by the story. When the Prince proceeded to sing a song instead of kissing Beauty whilst time was running out one child in the audience shouted:”There’s no time for that!”

This is a truly delightful show with fun and laughter – and suspense.   

Sleeping Beauty runs until 16 January 2011 at the Richmond Theatre.

Richmond Theatre, The Green, Richmond, Surrey, TW9 1QJ
http://www.ambassadortickets.com/1624/659/Richmond/Richmond-Theatre/Sleeping-Beauty-Tickets

Jack and the Beanstalk

Tyne Theatre & Opera House

The North East of England is proving to be a veritable smorgasbord of festive fun with a diverse range of productions entertaining audiences over the Christmas period. There’s a show-stopping stage adaptation of a well-loved Paramount picture at Sunderland Empire, a re-telling of a children’s literary classic at Northern Stage and a sensational selection of traditional, good old-fashioned pantomimes at The Customs House, Durham Gala and The Tyne Theatre & Opera House.

The latter sees the stalwarts of Newcastle Pantomime Company make a welcome return with their ‘giant’ production of Jack and the Beanstalk. Maxie Peters and Billy Mitchell, as Worzel and Scrumpy, a couple of comedic farmhands, are joined by fellow regulars Kevin O’Keefe (Dame Trott) Catherine MacCabe (Jack), Charlie Richmond (Silly Billy) Paul O’Shea (Fleshcreep) and Kim Atkinson (Mrs Blunderbore), whilst Samantha Phyllis Morris (Princess) makes her debut with the troupe.

Although the story is set in the village of Muchpiddlingshire, this is yet another pantomime that is rooted firmly in the locale. Regional references and Geordie slang abound, with people ‘gannin’ geet radgie’ left, right and centre (that’s ‘going rather berserk’ for those of you who are not fluent in our local dialect!).

As with all traditional pantomimes, there is a certain amount of thigh-slapping, audience participation, sing-along’s, comedy, romance, danger and – ultimately - good triumphing over evil. Yet it is the flair and enthusiasm with which it is all executed that makes this production what it is. There is not one weak link amongst the principal cast and they are supported by an energetic chorus of five pretty girls to boot.

The scenery is beautifully painted and vibrantly colourful and I would have credited the designer with a mention had their name been included in the programme. Emily Swan’s choreography is effective without being overly-complicated and Peter Millican’s lighting design makes the stage look like pages from a book of fairy tales. Brendan Healy’s direction ensures that the pace and momentum is maintained throughout - indeed there are absolutely no lulls in this production.

Perhaps, though, most enjoyment is derived from the fact that the show is full of ‘all the super stuff that proper panto’s are made of’ (as stated in the programme notes) and performed by a cast who are not only able to connect with the youngsters in the audience, but who also understand the importance of doing just that.

Steve Burbridge.

Runs until Sunday 2 January 2011

Peter Pan

Darlington Civic Theatre

Although Peter Pan has never been one of my favourite pantomimes, I have to admit that Michael Harrison has penned the best adaptation I have ever seen. His decision to reduce the scenes in the Darling family’s London home, at the beginning of the story, which can often seem long and drawn-out, is spot on and means that the action can swiftly transfer to the magical Neverland. Some fantastic sets really help evoke a feeling of this enchanted land and, in terms of design, no expense seems to have been spared.

For the second season in succession, Robin Colvill and Graham Walker (two members of the one-time five-strong comedy group, The Grumbleweeds) return to the Civic. This time they are the daft duo, Starkey and Smee, who are shipmates aboard Captain Hook’s Jolly Roger. Once again, they delight the audience with their inimitable brand of comedy, music and impressions – ranging from Lady Gaga to Susan Boyle! Throughout the performance, the pair seemed to be having just as much fun as the audience.

Former pop heart-throb David Essex takes on the role of Captain Hook – a notoriously difficult role to crack. I have seen several actors make a complete hash of this part (including Leslie Grantham and John Challis) whilst others (such as Brian Blessed and Ade Edmondson) have triumphed in it. Part of the problem is that Hook has no redeeming qualities and therefore elicits no sympathy from the audience. As wicked as the evil Queen in Snow White and the Seven Dwarfs may be, at least you can connect with the ageing beauty who is being usurped by a younger model, threatening to oust her from a position of power and social superiority – and, at the end of the story, she is often shown as remorseful. Hook, however, is not given a plausible motive for his dastardly deeds and is not ‘cured’ of his villainy by curtain-fall.

Although it would be unfair to compare Essex to the larger-than-life Brian Blessed, I felt that his performance in the role was rather lack-lustre. It took him far too long to warm-up, lose his inhibitions and get into character – and the re-worked version of his own track, ‘Dangerous’ fell flat. He only really seemed to become animated in the sword fight with Peter Pan.

If Essex’s performance as Hook is best described as ‘understated’, then Susan Hallam-Wright’s as Peter Pan can only be termed ‘overzealous’. Visually, Hallam-Wright looked the part, reminding me of predecessors including Bonnie Langford and Anita Harris with her elfin-like appearance and mannerisms, but there were times when her smile seemed ‘painted on’ and a little disconcerting.

Sasi Strallen, as Tiger Lily, was more Indian Squawk than Squaw and her incessant nasal vocals became somewhat irritating very early into her performance. On the plus side, though, Louise Lenihan was a suitably naughty, roller-skating Tinkerbell, her appearance, voice and mannerisms reminiscent of a young Barbara Windsor, whilst Daisy Wood-Davis perfectly suited the role of Wendy.

Technically, there were some impressive moments in the show but none that actually drew gasps of breath from the audience. And, unfortunately, on two separate occasions I noticed backstage crew on the stage – once to facilitate a change of scene and again to fasten Peter and Wendy into harnesses for a flying scene. Tut-tut!

This production sees Qdos present its twenty-fifth pantomime at Darlington Civic and it should have been an anniversary to be celebrated. However, the opportunity has been missed, somewhat, by a combination of sloppy direction and a lazy performance by the leading man, resulting in a show that was only given a ‘silver’ lining  by the hard-working performers in what were, technically, supporting roles.

Steve Burbridge.

Runs until Sunday16 January 2011

Cinderella

The Gala Theatre, Durham

In much the same way as the Customs House in South Shields does, The Gala Theatre in Durham presents a pantomime that adheres very much to the traditional values of the genre, and this year’s production of Cinderella is no exception. Assembling a cast made up, primarily, of North East actors and with references to locations in the surrounding area, this is a production that is situated very much in the locale.

Many of the characters are played by a ‘family’ of regular Gala panto performers. Neil Armstrong, of Seaham Harbour, Donald McBride of Fencehouses and Jane Deane return for their third consecutive season, whilst Paul Hartley has performed in all eight of the theatre’s in-house produced pantomimes, which is surely a resounding testament to his popularity and talent. South Shields born Helen Embleton, Spennymoor’s own John Carter, Australian Tom Caley and recently-graduated Sophie Michaels all make their panto debut at the Durham venue.

What makes this pantomime particularly special, for me, is the fact that it has been produced with such honesty, sincerity and charm. Although there is no denying that the big-bucks productions that boast the most spectacular special effects, star-signings and all manner of gimmicks, gizmos and technical wizardry are truly breath-taking, it is rather refreshing for a pantomime to be led purely by the performances of its cast.

Simon Stallworthy has penned a script that allows each and every one of his talented team to shine. Neil Armstrong, as Baron Gristle, is a consummate villain and almost Dickensian in character and appearance. Indeed, many of the stock characters have been given a refreshing twist: Helen Embleton’s feisty Fairy Marigold is no sickly-sweet, saccharine do-gooder, but a no-nonsense, often irritable nymph – more Fairy Godmother-in-law-from-hell than anything else! Tom Caley’s Prince Charming is portrayed as the dimmest and drippiest royal in pantoland and his foppish buffoon of a namby-pamby prince is reminiscent of a Hugh Grant character.

Some characters are portrayed more conventionally, though, including the Uglies and Cinderella. Donald McBride and John Carter, as Sarah and Clara Gristle, respectively, are a delightful double-act. Physically, they complement each other perfectly – McBride’s scrawniness set against Carter’s heftiness works wonderfully and presents a comedic visual image. The pair milked their musical numbers – ‘It’s Raining Men’ and ‘Girls Just Wanna Have Fun’ – for all they were worth. Sophie Michaels struck the right cord as Cinderella, managing to engage the sympathy and support of the audience without being too simpering and saintly.

Paul Hartley and Jane Deane, as Buttons and Dishes, are undoubtedly the most popular characters as far as the kids are concerned. They provided much of the slapstick and physical comedy. Hartley’s background as a Pontin’s bluecoat is evident in the rapport that he is effortlessly able to strike up with the kids, whilst Deane’s circus skills enable her to provide great physicality and excellent comedy timing.

Once again, the Gala has come up trumps with a pantomime that has something for everyone.

Steve Burbridge.

                                    Runs until Saturday 8^th January 2011

Puss In Boots

The Customs House, South Shields

Despite the inclement weather conditions, a capacity crowd turned out to see ‘the little panto with the big heart’ at the Customs House in South Shields. It was evident that several inches of snow and freezing conditions were not going to deter these stoic South Tynesider’s from enjoying an evening of festive frolics and family fun. As Ray Spencer ironically observed in his address to the audience at the end of the performance, ‘we used to have a word for this – winter!’

This year, for the first time, the Customs House is presenting the tale of ‘Puss In Boots’. As usual, the cast is a mix of Customs House stalwarts and fresh new faces. This season sees Ray Spencer and Bob Stott mark their 35^th anniversary as a panto double-act – and their inimitable brand of slapstick comedy, ad-libbing and on-stage chemistry is as fresh and funny as ever. Undoubtedly, it is this perfect partnership that provides the bedrock of the Customs House pantomime, around which everything else is built.

Popular performers Peter Darrant and Graham Overton are also present in this year’s proceedings, whilst Lucy Rafton makes a welcome return for a third year and Afnan Iftikhar appears for his second panto at the South Tyneside venue. The newcomers are Alice Brown, Ryan Lynch and Craig Richardson.

The story revolves around Dame Dotty (Bob Stott) and her two sons, Tommy (Ray Spencer) and Much (Afnan Iftikhar), who are facing the threat of eviction from their mill by the evil Osborne the Ogre (Peter Darrant) and his two bungling henchmen Cammy (Craig Richardson) and Cleggy (Ryan Lynch), who are terrorising the town of Cooksonville. It’s up to kindly King Boris (Graham Overton) and Loreal the Enchantress (Alice Brown) – along with help from the audience, of course – to save the day and rescue Princess Cheryl (Lucy Rafton) from a fate worse than death.

Dame Dotty’s mill bakery may not be ‘rising’ to the challenge and bringing in the ‘bread’ but, yet again, the Customs House proves that it has the secret recipe for cooking-up a top-notch panto that is always ‘fresh’ and never ‘stale’. The ingredients are many and rich, including a sprinkling of satire, a pinch of pop music, a dash of double-entendre, and liberal amounts of madness and mayhem.

Once again the script has been penned by Ray Spencer and Graeme Thompson and it is absolutely first-class. With just the right amount of political satire, topical gags and near-the-knuckle jokes weaved into a traditional tale of good triumphing over evil and love conquering all, it succeeds in entertaining each and every member of the family, across all generations.

The production values of this seasonal spectacular are to be envied, too. Paul Shriek’s costumes – of which, I am informed, there are approximately 100! - are riotously colourful and, especially in the case of Dame Dotty’s, boldly outrageous and fabulously flamboyant. Geoff Ramm’s scenic design lovingly depicts focal points from around South Shields, further reinforcing the fact that this pantomime is based firmly in the South Tyneside locale, whilst James Henshaw’s lighting design bathes the stage in a kaleidoscope of colours that adds warmth and magic to the proceedings.

The performances are commendable across the board, with each member of the cast having their own opportunity to shine as an individual. However, certain actors warrant particular praise – most notably Ray Spencer, Bob Stott, Graham Overton, Craig Richardson and Ryan Lynch for their consummate comedic performances, Alice Brown, Lucy Rafton and Afnan Iftikhar for their vocal talents and Peter Darrant for his carefully crafted, camp as Christmas, mad and bad villain. Not forgetting the troupe of bonny babes from the South Tyneside Dance Workshop, choreographed by Jacqui West.

The Customs House has triumphed with a ‘purr-fect’ ‘meow-sical’ about a magical moggy. Don’t ‘paws’ for thought – book your tickets now and you’ll be as happy as the cat that got the cream!

Steve Burbridge.

‘Puss In Boots’ runs until Saturday 8  January 2011.

Aladdin

The Tyne Theatre & Opera House, Newcastle

Until Saturday 9 January 2010

Forget the big budgets, forget the spectacular special effects – if it’s a traditional family pantomime that you’re after look no further than Aladdin at the Tyne Theatre and Opera House.

Once again, Newcastle Pantomime Company presents a show that contains more slapstick, sing-along songs, silly jokes and festive frolics than you can shake a seasonal stick at.

The cast is headed by former Doctor Who and Emmerdale star Frazer Hines as Wishee Washee, and his endearing performance of the loveable laundry layabout is a real hit with the kids in the audience. His affable nature and comedy timing are a testament to his skill as a performer, and it is easy to see why this is his 28^th consecutive pantomime.

Maxie Peters and Billy Mitchell make a great comedic double-act as Sergeant Ping and Constable Pong and their special brand of madcap mayhem is delivered in the style of true vaudevillians.

Kevin O’Keefe dons the most outrageous and outlandish costumes and wigs as the man-mad Widow Twankey, Old Peking’s very own version of Dot Branning, whilst Brendan Healy receives a barrage of booing and hissing as the evil Abanazar.

The title role is performed by Jayne MacKenzie and her shapely legs and powerful vocals make her the perfect principal boy. Catherine McCabe is slightly limited in the role of Princess Jasmine, yet never lets an opportunity to shine pass her by.

Jim Kitson as the Emperor and Kim Atkinson, doubling-up as So-Shy and The Slave of the Ring, considerably add to the overall entertainment.

The sets are bright, bold and gloriously colourful and there are some fantastic costumes, too – Abanazar’s fabulous bejewelled shroud must have made a hefty dent in the wardrobe budget. Throw into the mix a dancing elephant named Fatima, a parody of SuBo and Jedward, an ensemble of six, and a live orchestra and you are rewarded with a production packed with magic and mystique that offers real family fun.

Steve Burbridge.