Prepare to be amazed, because I just witnessed something truly extraordinary at Bedworth's Civic Hall during their production of Aladdin—a moment so jaw-dropping, it left the entire audience in awe. But here’s where it gets controversial: could this be the most daring and innovative pantomime of the year? Let’s dive in.
After triumphantly reviving pantomime at the Civic Hall last Christmas, PR Productions set the bar sky-high for their 2023 show. And let me tell you, they didn’t just meet expectations—they obliterated them. Aladdin is a masterpiece that most production companies would need a genie’s wish to even come close to replicating. The pressure was all on them, and they delivered in ways I never saw coming.
One scene, in particular, was so mind-blowing that I’m still reeling from it. And this is the part most people miss: I won’t spoil it, but trust me when I say it’s not just unbelievable—it’s utterly unexpected. That’s the magic of PR Productions: they always keep you guessing.
But don’t think for a second that the rest of the show was anything less than stellar. Take the hilarious phone call scene in Widow Twankey’s laundry, for instance. Paul Gibson (as Widow Twankey) and Guy Spreadborough (as Wishee Washee) delivered a comedic timing so perfect, it had the audience in stitches. The laundry itself was a character in its own right, complete with whimsical ‘machinery’ that brought the scene to life.
This isn’t your typical Aladdin—not the original tale, nor the Disney version. PR Productions has put their own spin on it, yet they’ve kept all the elements you’d expect. Rhia Barrett shines as the fearless and charming Aladdin, while the genie(s)—yes, there are two—steal the show. BBC star Mina Anwar dazzles as the genie of the ring, and Craig Garner brings a suave elegance to the genie of the lamp. Bold claim alert: this dual-genie concept might just be the most creative twist I’ve seen in panto history.
The villains? Absolutely unforgettable. Rob Hiatt’s portrayal of Abanaza was so menacing, he earned boos before even speaking a word. Tom Darby’s sly Grand Vizir and Julie Bromage’s regal Empress of Won-Po added layers of intrigue, while Eleanor Charman’s Princess Saffron wowed with her incredible vocals. And let’s not forget Esther Barnett’s comedic genius as So-Shy.
Paul Gibson, however, is the undisputed star. As Widow Twankey, he didn’t just wear outrageous wigs and costumes—he embodied the art of the dame, captivating the audience with every gesture. Controversial question: Is Gibson the greatest dame performer of our time? Let’s debate that in the comments.
The ensemble cast, choreography, and stage design deserve equal praise. The digital scenes, in particular, were phenomenal—transporting us from an Egyptian tomb to a bustling laundry with seamless precision. At the heart of it all is a razor-sharp script by Gibson and Hiatt, packed with laugh-out-loud gags and a brilliant original score by Andy Mackereth.
No wonder tickets are selling out fast. If I had three wishes, one would be for everyone to experience this show. Because, let’s be honest, this panto is genie-ous. Don’t miss it—it runs until Christmas Eve, and tickets are available online at PR Productions.
Final thought-provoking question: In a world of remakes and retellings, does PR Productions’ Aladdin set a new standard for pantomime innovation? Share your thoughts below!
