Swanage Drama Company 
Mowlem Theatre, Swanage 
KD Johnson 
09 January 2026
In these times of rising costs of living, increased taxes, international conflicts, the resurgence of nationalism, global instability and narcissistic megalomaniacs we all need something to cheer us up and take our mind off the gloom and doom. Swanage Drama Company have just the medicine in the form of their version of the classic pantomime tale of Aladdin.
In many amateur shows there are a few strong performers; rarely will you see a cast so replete with acting talent, vocal projection, singing and comic abilities as can be seen in this production at the Mowlem Theatre, Swanage.
Not only is there a remarkable cast of adult leads but there is also a huge and colourful chorus of both adults and children who fill the stage in various ensemble numbers. We have to appreciate the good but largely unseen work of the backstage chaperones and safeguarding crew, led by Emily Gadd. These days working with children (especially this many) is impossible without such backstage volunteers.
The script is adapted, from the original by the late Pat Jones, by director Brian Travers. It is mostly the classic tale but with lots of local references, new characters and sundry twists. I note, in particular, that the Princess is too intelligent to fall for the old “New Lamps for Old” routine – besides which, she has read the script. Some pantomimes are 25% plot and 75% mucking about for laughs but this one turns it on its head and concentrates on the plot, the dialogue, the characterisation and there is only a bit of mucking about. I like it and I am sure the audience do too.
The charismatic (and always smiling) Hannah Chelton is excellent in the title rôle, ably supported by Anthony Ayles as his/her on-stage brother, Wishee Washee. Widow Twankey (one of the longest established characters in pantomime history – having first appeared in 1788) is hilariously portrayed by David Wellstead-Arnold.
Victoria Jones is the lovelorn Princess Maria, who is doomed to be married to her father’s wicked wazir, Abanazar, until a chance encounter with Aladdin changes her fate. In this script, she is ably supported by Natasha Norman, who plays a great part as nurse Madonna Kebab. Their duet of “Holding Out for a Hero” is notable.
Freya Jones is the Guardian of the Ring and Becky Stares is a larger than life Genie of the Lamp, who also sings well in the song “You’ve Got Your Own Genie” to the tune of “Get Lucky” at the end of Act One.
Almost as old a name in the Aladdin pantomime tradition as Widow Twankey, is the African Magician, who was first named as Abanazar or Abanazer as long ago as 1813. Here he is played, to much booing and hissing from the audience, by the director Brian Travers – complete with a slightly unstable false beard. I do like a good “baddie” and Brian gets his teeth into this one. Unusually, in this script, the wazir has a diminutive and much put-upon henchman/servant called Ghenghis, who is brilliantly portrayed here by Megan Coward. Her voice, facial expressions and movements really bring the character to life and the relationship between the two adds depth and interest.
I briefly mention David Wellstead-Arnold as Widow Twankey above. He is evidently well versed in the comic art-form which is the pantomime dame, wearing a succession of colourful costumes with consummate ease and style, while getting every nuance out of the many gags and innuendos at his/her disposal. The on-off relationship with Philip Eades, as the Sultan, has a lot more to it than in other Aladdin productions and their duet “You Look Like a Diamond to Me” is delightful – once again showing the genius of Pat Jones and/or Brian Travers in rewriting the lyrics of well-known songs to suit the plot and the characters.
Lizzy Yates and Keren Campbell do a great job as the mischievous “Hump the Camel” and Roxie Gurney and Alex Field deserve a mention for their supporting rôles as Ben Hur and Ben Him.
I liked the “leitmotif” music associated with the different characters and the sound effects are well handled. I was a bit puzzled as to why some of the personal microphones seemed to be on and others not but thankfully there were no major issues. The purple hypnotism effect is nice and the lighting generally inobtrusive – but performers seemed to easily fall out of lighting (on either side) when downstage.
The break for shout-outs and birthdays right at the start breaks the momentum and atmosphere established by the lively opening “The Old Bazaar in Agradoo” and I think (if anywhere) such things should come at the end.
Those tiny niggles aside this is one of the best amateur pantomimes I have seen and I recommend it. The show runs again on Saturday 10th at 2.00pm and 7.30pm and again on Friday 16th and Saturday 17th at 7.30pm with another 2.00pm matinée on that Saturday. With so much brilliant entertainment included, it is quite a long show at just under 3 hours (including the interval) so time your car-parking and other factors accordingly.
