Reviews
Published Monday 3 December 2007 at 10:10 by John Moore
This terrific pantomime gallops the familiar trail with a plot twist or two to savour. Beautifully presented in stunning sets, it is gloriously costumed, and the action is greatly enhanced by a magnificent frightening figure of a giant, an instantly loveable cow, and incredible feats of gymnastics from the speciality act of Mykaylo Pavlov and Nataliya Piontek, one on static trapeze.
Comedian Johnny Mac splendidly leads the frolic as heroic Jack Trot, and accomplished Ian Gouck excels as a rather upmarket Dame Trot.
Pert and pretty Victoria Jones makes a splendid Jill, Lynsey Brown a delicious Fairy, James McAnerney evil personified as the villainous Gringe.
Gordon Cree (keyboards), Blair McMillan (drums) and Martin Henderson (bass) provide first-rate backing.
Choreographer Paul McLavin, Christopher Hillan, Lizzie Price, and Nicola O'Donnell are augmented in dance by Aileen Robertson's Laura Cathie, Rebecca Gibson, Kirstin Kirkland, Monica McElwee and Anne McLeod.
Published Friday 5 December 2008 at 11:35 by Thom Dibdin
Qdos Pantomimes' touring 3D Aladdin is given a substantial local facelift by Edinburgh comedian Allan Stewart in a show which brings the local references right into the plot - such as it is. While director Paul Elliott keeps Stewart's dame Widow Twankey as star of the show, this is much more of an ensemble piece than recent King's pantos. The 3D effects overcome their inherent naffness to provide the thrills and most of the plot.
Grant Stott relishes his Abanazar role, conjuring evil before Hugh Durrant's bold, high-tech designs and constantly being thwarted in his attempts to find Aladdin by Jo Freer's excellent leather-clad Chief of Police and her agile stiletto-booted policewomen, The Acromaniacs.
Johnny Mac, a newcomer to the Kings, puts in an energetic, onside performance as Aladdin. He pitches it precisely between not overpowering Stewart and integrating Wishee Washee's characteristics into Aladdin's persona, providing a quite suitable suitor for Nieve Jennings very conventional Princess Yasmin.
In a song-heavy production, Stewart gets most of the big numbers, although Tom Urie's Emperor does get a look-in. The dancing troupe provide strong and lithe - but not overly energetic - visual support. Entertaining stuff with big production values that is less substantial than it first appears.
Published Wednesday 1 August 2007 at 14:35 by Jane McKell
If you want an entertaining evening of laughter, song and dance, then make sure you see this classic Paul Holman Associates Summer Spectacular. Devised with care it is well dressed, good old fashioned variety. I took the whole family aged 10 to 78 years old, and we all came out happy. Topping the bill is the very funny Simmons and Simmons; his brother retired, Keith has joined forces with son Ben who is the well dressed, sensible straight man to dad's, much loved, super-silly, brilliantly timed antics.
Kilmarnock's stand-up comedian, Johnny Mac is hilarious with comic characters from old eccentric lady to silly schoolboy and with self-penned scripts has great rapport with his audience; he also joins Simmons and Simmons in deftly-daft sketches, the audience helpless with laughter. Multi-instrumentalist, Rachel King shows awesome versatility on tenor saxophone, flute and violin alto.
Noticeably all performers were able singers but young, energetic song and dance man Marcus Ash has the evenings golden voice; well matched by pretty song-bird Victoria McKenzie. Talented local dancers Andrew Harding and Emily Evans light up the stage, adding harmony to some great company numbers showcasing the talents of MD Simon Walters.
Chris Covington's fluorescent Star Puppets are a delightful addition - as are the sweetest of Stage Door school students. My family's favourite moments were the side splitting family comedy and well choreographed contrasting medleys, the glitzy Glamorous Nights and up tempo, Thriller Night. The only let down was the weather but who cares we were cosy, comfy and in great company
Jack and the Beanstalk, Ayr Gaiety -
Mary Brennan
Oh Ja-a-a-ck, oh Ja-a-a-ck ' As Dame Trot (amply characterised by Iain Gouck) stretches out her vowels in a rise and fall of deep despair, the audience goes "aaawww" in sympathy - before giving in to the laughter that Gouck's performance is all about. Essentially, his Dame is a bit of a fusspot: prone to wee arias of coloratura wailing and forever seeking comfort in the sweetie-bag. But old and young have taken a shine to Dame Trot and are keen to save her from a sugary end, so on cue there are yells of "naughty, naughty" accompanied by emphatic slaps on the wrist. This, for sure, is proper panto in action. And so too is the Jack of Johnny Mac
There's a vogue in Pantoland, just now, for heroes to be - as the old joke goes - just one step away from an idiot. Mac immediately uses the comic potential of Jack's daft side to win us as friends - it helps that he's got a face that can crumple, drop or light up to order and a high, giggly laugh that gives good-natured emphasis to every silly incident or aside. So of course we want our new chum to defeat the giant, get Jill (Victoria Jones) and save Buttercup the Cow.
Luckily he's got Lynsey Brown's personable fairy on side to help best the baddie - there's a neat wee plot twist to the dastardly Gringe (James McAnerney) - as well as hordes of Brownies who have been watching his back, and the Wii (yes, pronounced "wee") he left in the corner Oh, Jack: you are a lad, and Ayr audiences clearly love you for it.
SLICK, sexy and oozing big laughs, tender moments and glittering spectacle, this year's panto at the King's Theatre is a real tonic. Even the much-vaunted 3D genie living up to its billing.
Aladdin opens on a deliciously dark note, with Grant Stott as Abanazar summoning up a demon to tell him how he can contrive world domination for himself and a Champions League win for the Hibs.
Stott has become splendid value as the baddie. In his cartoon-style sleazy cape outfit, and surrounded by a quartet of writhing cat-suit clad creatures, he could afford to luxuriate a tad more in the full villainy of his lines as he sets up the pantomime's plot, but otherwise he has nailed the role completely.
The whole show is much more of an ensemble effort than in recent years, but its undisputed queen remains Allan Stewart's dame, Widow Twankey.
Stewart commands the stage with seeming effortless charm, delivering routines as if he were making them up on the spot and providing comic pastiches of popular singers in his big numbers. His Amy Winehouse is a real treat.
With a co-writing credit to his name alongside director Paul Elliot, Stewart is also responsible for turning an off-the-shelf touring script into a distinctly Edinburgh-orientated production. Much more than a couple of gags about the trams, his local and topical references run right through the plot
A big part of the ensemble feel comes from King's newcomer Johnny Mac who stars as Aladdin. The Ayrshire funny man succeeds in blending the traditional roles of the princely Aladdin and the dipsy Wishee Washee into one.
A strong and energetic foil to Stewart, he adds a vitality to the whole show as he falls for one-time Miss Scotland and current Miss UK, Nieve Jennings as Princes Yasmin. With her input being unremarkably traditional, their scenes together are a nicely judged balance of sentiment and comedy.
Jo Freer makes a feisty Chief of Police, in a skin-tight leather outfit with long black stiletto boots. Leading a female police force played by the Acromaniacs, Freer adds to the usual comedy role of chasing Aladdin for looking at Princess Yasmin, by constantly being on Abanazar's case.
The only one of the big names in the cast who feels underused although he does get two songs and a certain amount of comedy business with Widow Twankey is Tom Urie as the Emperor
But what of this 3D gimmickry? The news is good is that it works. This was proved by the gasps and screams that came from around the theatre as lamps, skulls and worse appeared to manifest themselves within touching distance of individual audience members.
On the downside, it takes up a lot of time, leaving no room for any real slapstick routines, although the sweetie shower does get reinstated. So a fun one-off then, but not the future of panto.
A production which gives the traditional and the familiar a reinvigorating twist, and flaunts its high production values with pride.
The team behind this year's Lyceum Christmas pantomime have set themselves quite a challenge. When Cinderella last rode out in her pumpkin carriage at the Crewe theatre in 2001 the show broke box office records. Thankfully, in 2006, veteran director and executive producer of more than 190 panto productions, Charles Vance, has assembled a superb cast and a script brimming with gags to keep the entire family entertained. By far and away the shining light of the show is entertainer Johnny Mac as Buttons. Back by popular demand after a hilarious turn as Wishie Washie in Aladdin last year, the people of Crewe certainly know a star when they see one.
Cinders, the stunning former Hollyoaks star Jemma Keys, is clearly enjoying slumming it as the pot-washing, floor-mopping daughter of Baron Hardup and full-time servant to her Ugly sisters. Former Emmerdale favourite, Leah Bracknell, makes the most of role of Prince Charming and displays a great singing voice whenever she gets a chance. The Lavelle Brothers have a startling number of costumes, each more hideously good than the last, and reel off an endless line of typical panto gags, which can't fail to raise a snigger from even the sternest audience member. With tickets sales already eclipsing last year, Cinderella is proving a hit with both youngsters and the young-at-heart.
With more sing-a-longs and jokes than you can shake your magic wand at, this is one of the best Lyceum pantos ever. Dig out your glad rags and make sure you get to the ball on time.
