![]() (Two of them seem to be channeling Nathan Lane and Ernie Sabella as Timon and Pumbaa in “The Lion King.”) In place of a tiger, Princess Jasmine gets a trio of lissome, emotionally supportive female attendants who urge her to sneak out in disguise to experience the freedom of life as a commoner. Instead of a pet monkey, Aladdin has three stooge-like but affable buddies played by Philippe Arroyo, Zach Bencal and Mike Longo. We’re also introduced to new characters, because somebody realized that the film’s animal sidekicks play better onstage as people. Through it all we meet the characters from the film: Aladdin (Adam Jacobs), a poor “street rat” who lives by petty thievery, always “one jump ahead of the lawmen” the feisty Princess Jasmine (Courtney Reed), who wants to marry for love her father, the rule-bound Sultan (JC Montgomery), who insists that she marry a prince and his skeevy, black-gowned vizier, Jafar (Jonathan Weir), who dreams of seizing power. During the COVID-19 crisis Acting for Others have raised over £1.7m to support theatre workers affected by the pandemic.Gregg Barnes’ glittery costumes, luscious as a garden of cotton candy flowers, expose a dizzying array of pectoral muscles and belly buttons, which director and choreographer Casey Nicholaw’s lively dance numbers keep moving. Donate to Theatre MAD nowĪcting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa. Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. The Make A Difference Trust fights HIV & AIDS one stage at a time. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids. That five quid you spend on a large glass of House White? They can save someone’s life with that. They give grants to set up small, sustainable businesses that bring financial independence and security. Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give a unanimous 'very good' and I totally agree with them. They have been paying great attention to everything and so I ask them to rate the show on a scale from 'rubbish' to 'very good'. I am sharing a row with Liam (aged 7) and his brothers Leo and JJ. Most important of all, the youngsters in the audience (and their mums and dads), many of whom had dressed specially for the occasion, are held in Aladdin's spell for the full hour. There are just enough mentions of Ipads and a slight plot twist allowing Princess Jasmine to save the day to make it all feel current, as well as a brave gender-blind casting of a female Wicked Uncle. The opening of and descent into the cave and a camel ride across the desert are enthralling, as created by a handful of young people with black hoodies on over their colourful costumes. Pretty much everything about this production tickles those places in your soul where your imagination used to enjoy itself. would not be out of place in Miss Saigon. “Everything's worth what someone's willing to pay” is the hook line for the first number. The whole cast take part in the all the big musical numbers, the choreography is tight, the singing terrific and the songs themselves simple but soooo smart. We hear whispers of some young thief called Aladdin. From the moment we enter, we are in the bazaar, with dodgy hawkers attempting to sell us ghastly tat and quarrelling amongst themselves. This is a big change, logistically and stylistically, but you would not know. Thanks to covid restrictions, the 'stage' is really a floor, and the young company's blocking has had to be changed to play head on to an audience rather than in the round. There are several performers here who have industrial strength charisma already and the entire ensemble does not carry a single passenger. The kind of performing passion that should never be allowed to fade. ![]() This is the enthusiastic retelling of the story of Aladdin, by Flying High Young Company, with songs (catchy), dance (creative choreography), lots of fun, and the kind of performing passion that should never be allowed to fade. ![]() Onstage and in the auditorium at theSpaceTriplex there is joy. ![]() The word that most immediately springs to mind is 'joy'.
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