"Aladdin - Mansfield Palace Theatre"
Wednesday 21st January 2026
"Aladdin"
Westfield Folkhouse Pantomime
Mansfield Palace Theatre
Celebrating 86 years of pantomime Westfield Folkhouse Pantomime present a production that is bright fast-paced funny and full of heart. Rooted in traditional storytelling the show is delivered with confidence and a polished presentation. As a first-time reviewer of this production I was immediately struck by how successfully it brings entertainment to the audience keeping their attention from start to finish.
The familiar story follows Aladdin a kind-hearted young man living a simple life with his mother Widow Twankey. When a mysterious stranger arrives promising wealth and adventure Aladdin is drawn into a dangerous quest for a magical lamp. Along the way he falls in love with Princess Jasmine angering the Empress and finding himself banished from the city. What follows is a lively adventure packed with comedy magic and music leading to a satisfying and uplifting conclusion.
Amy Briscoe takes on the title role of Aladdin and completely anchors the production. From her first entrance she brings warmth charm and confidence to the stage. Her performance feels relaxed and natural and it is clear she is genuinely enjoying the role. Vocally she is strong and assured delivering each song with clarity and control. What stands out most is the heart she brings to the character making Aladdin instantly likeable and easy to root for.
One of the most memorable musical moments of the evening comes with Amy Briscoe's solo performance of This Is Me from The Greatest Showman, which she sung with honesty, confidence and real emotional depth. The number feels personal rather than simply performative. There is a noticeable shift in the atmosphere during this moment with the audience completely focused on her and it is impossible not to feel moved by the delivery. It is a powerful reminder that pantomime can still create genuine emotional impact and this song becomes one of the standout moments of the entire production.
Princess Jasmine is played by Chloe BarrettReid who brings elegance strength and a powerful vocal presence to the role. Her singing is clear, expressive and confident and she handles the musical material with ease. The duets between Jasmine and Aladdin are particularly effective showcasing not only strong vocals but also a natural chemistry that makes their relationship feel believable and engaging.
One of the visual highlights of the production was the use of the flying carpet featuring Princess Jasmine. The effect was handled smoothly and convincingly creating a real sense of magic on stage and drawing an excited response from the audience. It added a memorable moment of spectacle to the show and worked beautifully within the story without feeling overused.
Matthew Bird delivers a wonderfully sinister performance as Abanazar. He strikes the perfect balance between menace and theatricality never pushing the character too far into parody. His presence on stage is commanding supported by one of the most striking costumes in the production and every appearance feels purposeful and well judged.
Widow Twankey is played by Martin Belcher who brings bold comedy, energy and personality to the role. His performance is unapologetically outrageous exactly as a pantomime Dame should be. The costumes are inventive and original and he wears them with complete confidence. His timing is sharp his audience interaction is natural and his ability to work the room is impressive. He is a constant source of laughter and a real highlight of the show.
Matthew Jayes makes a strong first impression as the Vizier opening the show with an energetic rendition of 'Can't Stop the Beat' that immediately lifts the atmosphere in the auditorium. His musical theatre vocals are confident and well controlled and he handles the score with ease throughout the production. He brings a sense of authority and character to the role while injecting plenty of personality that helps keep the story moving at pace.
David Gell and Brandon Stafford form a classic pantomime double act as Inspector Shaw and Sergeant Rick. Their scenes are packed with humour clever wordplay and well-judged audience participation. The audience reaction on the night I attended was hugely enthusiastic with laughter throughout. Their comic timing is excellent and their material feels polished and confident delivering some of the biggest laughs of the production.
Christine Oscroft brings effortless glamour to the role of the Empress. From the moment she steps on stage she commands attention adding elegance and authority to every scene. Her presence lifts the production and she clearly relishes the character.
Lynn Roberts appears as the Genie bringing warmth energy and personality while the wider ensemble plays a vital role in creating the lively world of Peking. The People of Peking fill the stage with colour movement and enthusiasm supporting the principal cast brilliantly. The Babes of Peking perform with confidence joy and infectious energy and their commitment and enjoyment shine through in every group number.
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The People of Peking are brought to life by Honey Cohen, Michelle Ferencikova, Grace Hackett, Kacey Hartin, Eila Van Ham, Ruth Lamb, Emily Rainbow and Daisy Seymour who together add colour movement and energy to the world of the show.
The Babes of Peking appear throughout the show in three separate teams and bring huge energy and enthusiasm to the stage. Across the teams are Isabella Alvey, Heidi Briggs, Isabella Gunby, Lois Hibbert, Cora Littler Elsie-May Mehew Elsie Norman Rosie Radzynski Georgia Shipley Arabella Taylor, Ivy Warren, Amelia Wilkinson, Marlowe Boole, Frey Ja Edson, Erin Hancock, Martha Isterling, Niamh Lock Lyra Mowbray Caitlin Pincott Shyana Rubio-Bates Frankie Spinks Bella-Rose Wallace Rose Wightman and Elsie Williamson. They deserve huge credit for the energy they bring to the production. Their constant smiles and enthusiasm make it clear how much they enjoy being on stage and that joy is felt by the audience throughout the show.
The script plays an important role in the success of the production. Written in-house by Westfield Folkhouse Pantomime it feels confident well paced and clearly shaped around the strengths of the cast. While staying true to the traditional pantomime structure it also adds fresh touches that keep the story feeling lively and engaging.
Directed by Brandon Stafford is confident and assured. The production moves at a strong pace transitions are smooth and every scene feels purposeful. Despite the large cast the stage never feels overcrowded and there is a clear understanding of pantomime rhythm that keeps the show flowing naturally.
Choreography by Lynn Roberts is energetic well structured and visually exciting. The routines are clean well rehearsed and make excellent use of the stage space particularly impressive given the number of performers involved. The dance numbers add to the sense of scale and professionalism throughout.
Musical Director James Barrows and his orchestra provide a rich and confident musical backbone to the production. The selection of songs is particularly strong blending musical theatre favourites with pop classics and modern crowd-pleasers. Each number feels well placed and supports the flow of the show keeping the energy high while allowing quieter moments to land. The audience participation section featuring Sweet Caroline creates a genuinely uplifting shared moment that fills the auditorium with sound and smiles.
The orchestra for the production was made up of James Barrows on keyboard, Adrain Harper on lead guitar, Mark Davis and Elliot Davis on percussion and Andy Metcalfe on bass guitar.
Together they provided strong musical support throughout the show creating a well balanced sound that lifted both the vocals and the overall energy of the production.
Sound design by CNICS was of a consistently high standard throughout the production. Levels were well balanced cues were precise and every line and musical moment came across clearly making the show a pleasure to listen to from start to finish.
Huge credit must go to the backstage crew whose work is often unseen but plays a vital role in the success of the production. Under the stage management of Eddie Ratcliff the show ran smoothly with well timed cues efficient scene changes and a strong sense of flow throughout which helped maintain the pace and energy of the performance.
Scene changes were smooth cues were well timed and everything ran seamlessly allowing the production to flow without interruption and helping maintain the strong pace of the performance.
Although the lighting designer is not named in the programme however, the lighting throughout the show is thoughtfully executed and contributes greatly to the sense of magic on stage. Combined with the strong performances and technical quality this makes Aladdin a thoroughly entertaining family production.
Visually the production is lifted by an impressive costume design that stands comfortably alongside those seen in large-scale professional pantomimes. The detail colour and variety of the costumes make a strong impact on stage and are best appreciated live. Costume design is by Julie Wright with additional pieces provided by Imagine Theatre and together they help create the vibrant world of the show.
Additional props by Lynn Roberts added extra detail and character to the production helping enhance key moments on stage and contributing to the overall visual storytelling.
This Aladdin delivers on every level. It is joyful energetic and full of heart combining strong performances polished technical elements and a genuine sense of fun. It left the audience smiling laughing and fully absorbed which is exactly what great pantomime should do.
With its strong production values traditional pantomime charm and welcoming atmosphere this show offers an enjoyable theatre experience for the whole family. It captures the fun warmth and spectacle audiences expect and is sure to appeal to all ages. Booking in advance is strongly recommended to avoid missing out.
Aladdin runs at Mansfield Palace Theatre from 20th–25th January with matinee and morning performances.
Written By Owen Brindley
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