Written by Emily H for Theatre & Tonic

Disclaimer: Gifted tickets in exchange for an honest review

Pantomimes have long been the beating heart of Britain’s festive theatre season – familiar, family-friendly, and bursting with traditions that audiences look forward to year after year. Little Wolf Entertainment’s Aladdin comfortably sits within that landscape: a colourful, energetic, and delightfully chaotic production that embraces many of the genre’s typical hallmarks. While it doesn’t reinvent the panto wheel, it does deliver a solid evening of entertainment with great flair to keep both children and adults delighted.

The cast is small but hardworking, and their commitment keeps the show alive. Monique Sallé deserves particular recognition for her confident multi-rolling as not one but two genies and a police officer to boot, delivering hilarious character shifts and reliable humour. She brings crisp comedy and boundless energy to each role, and it was a pleasure to be entertained by her.

Similarly, another comedic anchor of the show is Morgan Philpott as Widow Twankey, the fabulous panto dame. Philpott’s performance is full of warmth, energy, and sharp timing, and they clearly understand how to land a classic panto gag. Even if some jokes do veer into over-used territory, Philpott keeps the audience onside and delivers them with charm. Their presence is, without question, one of the highlights of the production.

Oliver Brooks’ Abanazar offers an interesting twist. Rather than the typical booming, sinister panto villain, he leans into a wonderfully unexpected Alan Carr-type persona: chatty, camp, and knowingly ridiculous. While this means he’s certainly less threatening than you might expect from this archetype, he is consistently entertaining, bringing a spark of gleeful mischief to every scene.

One of the show’s more distinctive choices is its use of musical-theatre numbers rather than the usual parade of this year’s pop hits. Songs from Legally Blonde, La La Land, Mamma Mia, and (you’ll be unsurprised to know) Wicked are woven in with confidence, giving the show a slightly more theatrical feel without straying too far from panto convention. This decision never feels gimmicky but instead provides a welcome lift, helping the show feel bright, polished, and playfully musical.

However, some structural elements could benefit from a bit of refinement. A few scenes overstay their welcome, and younger audience members were noticeably restless at times, especially as we approached the long-coming interval. Meanwhile, Aladdin’s early declaration that he wants to become an ‘influencer’ is introduced with fanfare but then largely forgotten – a plot thread that either needed developing or trimming altogether.

Visually, the production is bursting with energy and thoughtfully executed. The set features clever cut-outs and layered cloths that create depth and surprise, supported by lighting that shifts the mood with ease. The undisputed showstopper, however, is the flying carpet. Especially in a venue of this smaller size, its appearance is astonishing: the carpet doesn’t just hover – it truly flies, lifting into the air and gliding out towards the audience. It’s an unexpected moment of pure theatrical delight, a genuine jaw-dropper that drew many a cheer around the room. It’s the kind of spectacle that reminds you why panto holds such enduring appeal.

Ultimately, Little Wolf’s Aladdin may not be a radical reimagining of the classic tale, but it doesn’t need to be. It is a confident, colourful, and joyous production that delivers exactly what most families come to panto for: big characters, big laughs, and a sprinkle of seasonal magic.

Plays until 4 January 2026

★ ★ ★ ★

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