Written by Fraser Boyle

Directed By Tom Cooper

Review by Dominic Corr

The Gaeity

A warm, hyper-local panto with charm to spare — and a few bumps in the magic carpet, Ayr’s Gaiety has carved out a reputation for homegrown pantos with a distinctly Ayrshire flavour, and Aladdie, written by Fraser Boyle and directed by Tom Cooper, continues that tradition with gusto. Less a retelling of Aladdin and more a gleeful Ayrshire remix, the show trades the Far East for the “very, very far East of Ayrshire,” planting the McMinger dynasty squarely in Old New Cumnock. It’s daft, it’s local, and it’s absolutely unapologetic about both.

The cast is a mix of returning favourites and newcomers, with Boyle himself donning the Dame’s frock once again as Widow Twankey, joined by Gavin Jon Wright as Abanazar, Lewis Kerr as Aladdie, Ciara Flynn as Alassie, Mia Musakambeva as Princess Destiny, and Hannah Howie as Empress Oonagh McMinger. It’s a strong ensemble, and their chemistry is the show’s greatest asset, and continues the theatre’s tradition of having quality across the board in its casting.

Boyle’s script is packed with local references, cheeky asides, and the kind of humour that lands best with an audience who know their Maybole from their Mauchline. At its best, the writing is sharp and playful, revelling in the absurdity of its own premise. At its weakest, it leans too heavily on exposition; the first stretch of Act One is weighed down by storytelling, a point echoed in their award-winning 2025, Mother Goose.

Still, once the plot loosens its grip, the show finds its rhythm. The sketches are lively, the banter lands often, and the cast throw themselves into the chaos with admirable commitment. Boyle’s Widow Twankey is a riot, a tartan whirlwind of innuendo and elastic facial expressions. Kerr’s Aladdie is earnest and energetic, while Flynn’s Alassie provides a grounded counterpoint, while Musakambeva’s Princess Destiny brings charm, and Howie’s Empress Oonagh is deliciously imperious.

The standout, though, is Martin Murphy’s Danny-Daniel, and Gavin Jon Wright’s Abanazar, who leans into the villainy with relish, balancing menace with bumbling humour in a way that keeps the younger audience giggling rather than cowering. It’s a performance that elevates every scene he’s in.

The creative team deserve credit for the show’s polish. Sarah Wilkie’s choreography injects energy into the musical numbers, giving the production a welcome sense of movement and spectacle. John Hodgson’s musical direction keeps things buoyant, and the set, designed by Mark Walters & Glitter Pantomimes, is colourful, playful, and full of personality. It’s not on the scale of the city pantos, but it doesn’t need to be; it suits the Gaiety’s intimate charm.

Where Aladdie falters is in consistency. The pacing issues are hard to ignore, particularly in the early scenes, and the show’s length is felt in the auditorium. Some sketches soar; others meander. And while the humour is mostly family-friendly, a few gags land in the grey zone — the sort that send adults into fits while children stare blankly, waiting for the next slapstick moment. It’s not inappropriate, but it occasionally feels pitched more at the grown-ups than the wee ones.

Still, there’s a warmth to Aladdie that’s hard to resist. The Gaiety’s pantos have always thrived on community spirit, and this production is no exception. It’s silly, affectionate, and proudly Ayrshire — a show that knows its audience and plays to them with gusto: Aladdie is a lively, if uneven, festive romp with heart, humour, and a whole lot of local flavour.

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