Review: Aladdie – Gaiety Theatre, Ayr

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The Fountain of Youth

If there is a Fountain of Youth in Ayrshire, it is currently bubbling away backstage at the Gaiety Theatre. While many pantomimes rely on wheezing veteran stars to anchor the festive chaos, this year’s production of Aladdie leans entirely the other way. With a cast average age that feels closer to 20 than 30, this is a production bursting with infectious, boundless energy. Aside from a few obligatory tame jokes regarding “enormous cucumbers” and the like to satisfy the traditionalists, it captures the chaotic, Technicolor feel of 80s and 90s Saturday Morning TV—a “Young Team” taking on the ancient art of panto and winning.

From the moment the curtain rises on a cracking pop mash-up—blending Scissor Sisters, Chappell Roan’s ‘HOT TO GO!’, Loreen’s ‘Euphoria’, and S Club 7—it is clear this isn’t going to be a sleepy affair. This panto is populated by a fresh faced bunch with dancing beans in their shoes and a slew of pop banger lyrics bursting to get out. In the pit beneath a three-strong band prove their match with a continually impressive, punchy sound.

Ancient Old New Cumnock

Written by Fraser Boyle (who also commands the stage as Widow Twankey), the script relocates the action to “Ancient Old New Cumnock”. It is a smart localization that allows for plenty of niche Ayrshire gags; the town of Maybole, in particular, gets it in the neck as the grim location of the villain’s not-so-secret lair. Crucially, the production doesn’t drag. Director Tom Cooper balances the need for big set pieces with the need to keep the story moving forward, even utilizing a fun filmed segment of the heroes taking the bus to Maybole to cover the scene change for the final showdown.

Where many pantos sacrifice plot for star-powered sketches, Cooper and Boyle keep the central story rich and surprisingly grounded. They eschew the lazy “love at first sight” trope; here, Aladdie (Lewis Kerr) and Princess Destiny (Mia Musakambeva) are already friends. The decidedly parochial Princess has, brilliantly, taken a work placement at the Twankey laundry for her business studies. This narrative focus allows their romance to breathe, carried off particularly well in a repurposed duet of ‘Only Us’ from Dear Evan Hansen. It is a refreshing change of pace; it is not the class divide that threatens their bond, but Aladdie’s own hubris. Once he escapes the cave rich as Croesus, his temptation to engage in excessive showing off—via an all-singing, all-dancing rendition of ‘If My Friends Could See Me Now’—is what risks driving them apart.

Vocal Anchors

Kerr is the show’s vocal anchor, possessing a sweet, versatile instrument made for musical theatre. He brings a perky, non-threatening energy to the lead—neither wet nor arrogant, but a proper hero you can root for. Opposite him, Musakambeva displays a bright stage presence and a powerful voice that clearly has massive potential. Even the supporting royals get their moment to shine; Hannah Howie (Empress Oonagh) delivers a sterling rendition of Bonnie Tyler’s ‘I Need a Hero’ whilst trapped in the allegedly horrid depths of Maybole.

But panto lives or dies on its comedy, and this production has a secret weapon. Ciara Flynn is a revelation as Alassie (Aladdin’s sister and the comic relief). With a wonderfully expressive face, she knocks a rise out of every character, particularly enjoying the running gag of mispronouncing Abanazar’s name—cycling through classics like “Mr. Banana” while accusing him of being a “weird Aberdonian”. The magic, meanwhile, is cleverly split into a trio of Genies; attitude-laden and speaking in cheeky rhyme, they show scant respect for their master unless he truly deserves it.

Dancing Like There’s No Tomorrow

The energy of the leads is matched, if not exceeded, by the ensemble. Nowhere is this more apparent than in the energetic half-time finale, a storming ensemble performance of Lady Gaga’s Abracadabra. During this, and the other epic mash-up dance numbers, every single performer does themselves proud. It is a credit to the Gaiety’s community ethos that the supporting ensemble often look less like filler and more like the engine room of the production – particularly their munchkin division who leave nothing in the dressing room.

Classic Variety

Amidst the youthquake, Fraser Boyle’s Widow Twankey is the steady hand on the tiller. Steering away from the sickly-sweet dotty dame archetype, Boyle is decidedly sarcastic, strutting in costumes ranging from a singular velour tracksuit to a luxurious tartan overcoat fit for Rikki Fulton. Yet, he is admirable for being part of the panto rather than seeking to be larger than it; his Twankey offers a touch of heartfelt philosophy and humanity alongside the barmy outfits and outrageous comments.

Cooper’s direction also bravely harks back to classic music hall variety; in a move that is undeniably impressive amidst the pop songs, the action pauses for a well-coordinated hand-bell ringing routine that offers some genuine “turn back the clock” fun. Visually, the production balances its budget with charming ingenuity. The set (provided by Glitter Pantomimes) is curiously oriental for a story so aggressively rooted in Scotland, a fact the script winks at. However, the bespoke props in Twankey’s Laundry and other locales offer some lovely traditional fun, possessing the tactile quality of a pop-up book.

Accidental Genius?

There was a risk of disruption in the villainous ranks, with Martin Murphy stepping into the shoes of Abanazar to cover for the absent Gavin Jon Wright. However, Murphy—normally one of the genies—proved a worthy foe. He brought a suitably odious sass to the baddie, leaning fully into the character’s weird fascination with turning everyone into “scabby wee pigeons”—a fetish that threads its way through much of the show’s humour.

Delivering the villain’s cheeky ditty with aplomb, Murphy highlighted the show’s notably yesteryear showbiz sensibilities by performing a faithful cover of Tom Lehrer’s Poisoning Pigeons in the Park. Elsewhere, a chaotic laundry sequence set to everything from Rose Royce’s Car Wash to Yes, Sir, I Can Boogie, found the evil-doer mesmerised into helping dry the Empress’s knickers, seemingly hypnotized by the power of disco. What’s not to love?

However, this panto saves its strongest moment for the final scenes, concluding with a cracking, harmonised choral rendition of Beyoncé’s Love On Top, featuring the victorious heroes and a now “pigeonified” villain. Eat your heart out, Star Wars.

All in all, Aladdie is a vibrant, joyful production. It may be young, but it is mighty.

Featured Image: Mia Musakambeva, Christopher McFadden, Ava Anderson, Fraser Boyle, Lewis Kerr, Ciara Flynn, Martin Murphy, Carley Duncan, Hannah Howie, Yvonne Strain (BSL Interpreter) – Aladdie, The Gaiety 2025, Credit Tommy Ga-Ken Wan

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Aladdie will run at the Gaiety Theatre Ayr until January 4th 2026. For tickets and more information, click here.

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