Written and Directed by Gordon Barr

Review by Dominic Corr

The Byre Theatre

What’s the use in wishes, when all your festive hopes are granted by the Byre Theatre once more, this time for a more local spin on the classic Arabian tale: Aladdin. A riotous, tightly knit pantomime bursting with humour, strong choreography, and a gloriously over-the-top villain, Bard in the Botanics Aladdin may not reinvent the lamp, but it gleams with festive fun.

Penned as a self-described ‘Awfy Braw Adventure’, by writer and director Gordon Barr, the heat of the tale’s origins is muted for a distinctly Scottish spin on the classic tale, set in the misty Fiefdom of Fife. From the moment the curtain rises, it’s clear this isn’t a production taking itself too seriously. Instead, it revels in silliness, sparkle, and a cast whose camaraderie is palpable, delivering a show that feels as warm and familiar as a family gathering at Hogmanay, but forget not, that in true Bard and Byre staple, there’s plenty of heart to this otherwise side-splitting and communal panto.

Much of this originates with Stephen Arden’s Salazar Sidewinder, the kind of villain pantomime thrives on: deliciously camp, gleefully wicked, and impossible not to enjoy. Arden steals scenes with relish (aided by a pair of brilliantly performed pixies from the Young cast), his exaggerated menace balanced by comic timing that keeps the audience in stitches. He’s the pantomime baddie you boo with a grin, and his performance anchors the show’s sense of fun, particularly when the show gets derailed, Arden’s antics capitalised on.

Counterbalancing Arden’s villainy is the ever-reliable Allan Steele, returning as Dame Maudie McSwankey. Steele’s rapport with the audience is effortless, his larger-than-life presence and quick-fire humour ensuring the show never loses pace. The most sardonic dame in Scotland, there’s a real uniqueness to Steele’s delivery. Together with Arden, he embodies the Byre’s tradition of pantomime as a communal event, where the performers feel like old friends rather than distant stars.

The younger performers shine too. With the youth cast brought right into the story quite frequently, rather than the sparing use most other town pantos have. They’re usually the ones who showcase Arden’s choreography to the fullest. It’s worth highlighting how strong the movement is throughout. Musical numbers are staged with precision and flair, giving the production a polish that belies its modest scale. The dance sequences, particularly the ensemble routines, inject vibrancy and spectacle, elevating the show beyond the usual pantomime fare.

But I suppose we should mention the heroes? Shifting from last Dundonian tale with Oor Wullie; Kyle Gardiner’s move to the Byre as Aladdin brings energy and charm to the title role which continues to cement their steadying presence across Scottish theatre, while Eimi Quinn, fresh from last year’s Beauty and the Beast, proves herself a versatile talent as Lassie McSwankey; utterly hilarious, graceful in all of their grotbaggish behaviour. Their performances are buoyed by Barr’s direction, which ensures the ensemble works as a cohesive unit. Joining the team for a spin on the ‘Geanie’, is Isabelle Joss in a dual role as the Jeanie of the Irn Bru bottle (smashing gags to be had) decked out with some good audience interaction, and cracking costumes. The cast’s tight-knit feel is one of the production’s greatest strengths: jokes land because the performers trust one another, and choreography dazzles because the ensemble moves as one.

Humour is the lifeblood of this Aladdin. Barr’s script is peppered with local references, daft wordplay, and slapstick that appeals across generations. Children giggle at the pratfalls, adults chuckle at the sly asides, and everyone joins in the communal joy of pantomime tradition. The jokes may be broad, but they’re delivered with such gusto that even the groan-worthy puns feel welcome.

Visually, the production effectively embraces its Highland setting, featuring colourful costumes and inventive staging, thanks to Cary Hobbs’ design. The world is conjured with charm rather than grandeur, but the effect is no less magical. The show’s design choices emphasise fun over spectacle, aligning perfectly with its ethos of not taking itself too seriously, and the increased budget leags to a few additional elements (the Cave of Wonders) lifting the Byre up to (almost) level with some of the bigger shows across Scotland.

Of course, no pantomime is without its drawbacks. At times, the humour leans too heavily on repetition, and a few musical interludes lack the punch of the stronger numbers. The plot, as ever with pantomime, is more a framework for jokes than a compelling narrative, and those seeking depth may find themselves wishing for more. Yet these quibbles are minor in the face of the production’s sheer enjoyment. Arden, Steele, Quinn, and Gardiner lead a company that feels like family, and their joy in performing is infectious. Aladdin is a shining, shimmering, splendorous pantomime that ripples with humour, camaraderie, and festive cheer: no wishes required.

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