Michael Cox reviews Dick McWhittington, Aladdin, Peter Pan and Irving Berlin's White Christmas.
Whether it’s intentional or not, there does seem to be a bit of a ‘war of the big productions’ going on in Scotland’s central belt, with major companies rolling out big names and popular titles in both Glasgow and Edinburgh. And while there seems to be an interesting game of one-upmanship, what’s rather ironic is how many of these productions have within them the exact same hiccups: talented stars running rampant, stories that are all but forgotten and a supporting player who ends up saving the dramatic day.
Take Dick McWhittington, the fourth consecutive Christmas show where John Barrowman and The Krankies have invaded the Armadillo at the SECC. Invaded does seem the right word, for all three performers don’t just strut but charge about in a continuous barrage of musical numbers and vaudevillian acts.
Is there a plot? Sure: Barrowman wants to make his fortune and is promised the title of Lord Provost of Glasgow by the good fairy Aurora, if only he can defeat the villainous King Rat and his army. But do we care? Not really, because the production is less worried about dramatic tension than it is in affording its three leads as much stage time to…well, do what they do best: revel in shenanigans.
Which is perfectly fine, because the charm of the production comes in seeing the genuine affection that Barrowman and The Krankies have, not only in performing but, perhaps more importantly, for each other.
They are a delight to watch, even if the chorus and supporting players are given little to do but be glorified eye candy. Pete Gallagher makes a great villain as King Rat, and Ashleigh Gray’s Aurora makes for a charming good fairy. Lisa-Anne Wood might be given little to do but pine for Barrowman while Aaron Romano only has one scene as a kind of/sort of/not really bad guy, but they make the best of what they’ve got. However, Lukus Alexander as Tomtom the Cat is an utter delight and manages to shine whenever he’s on stage—no small feat within this company.
All of which makes Dick McWhittington an entertaining production. It won’t win over new fans, but those who like any of the leads will find enough to be satisfied.
Across the way at the Kings, Aladdin is playing in a similar vein. Here the story does unfold in a more conventional way, even if it does get interrupted by countless distractions (many of which entertain in unsubstantial ways) and a few frustrating adverts for Shrek the Musical (which only infuriate).
There are some really good things to relish here. Des Clarke’s Wishee Washee is a constant pleasure and Karen Dunbar is a scream. Gavin Mitchell’s Abanazar is criminally underused but steals the show whenever he’s on, while Gordon Cooper and Steven McNicoll are clearly having fun as Widow Twankey and Major Pong. Kieran Brown and Jenny Douglas as Aladdin and Princess Jasmine are a bit lost in the shuffle, but they are genuine enough to root for, and the chorus do a great job in the ensemble numbers. However, Justin Vanderhype manages to impress in his role as the Genie of the Lamp with excellent vocal skills and stage presence.
However, if there’s anything remarkable about Aladdin, it is in how unremarkable it is. It’s chalk-full of great acting talent, but very little manages to do more than simply please. Only a single scene near the play’s conclusion, starting with a rousing take on the Rolling Stone’s ‘Sympathy for the Devil’ sung with cheeky malice by Mitchell and ending with a hilarious dance routine between Clarke and Dunbar (including a strategically placed balloon and a nice tip of the hat to the late and much missed Gerard Kelly), manages to showcase what could have been.
It’s a shame because there are great moments, but a collection of great moments don’t make a great production. Aladdin is good enough, but it really should be better.
Over in Edinburgh, this year’s Allan Stewart/Andy Gray/Grant Stott production is called Peter Pan. Yes, there’s flying, Nana the dog, an island called Neverland, mermaids, a fairy and a pirate ship, but the three leads manage to usurp most of the stage time as Mr & Mrs Smee and Captain Hook while the titular character is relegated into a glorified cameo.
Which begs the question: what do audiences want? If they want Stewart, Gray and Stott to muck about on stage for two hours, or perhaps a sarcastic deconstruction of JM Barrie’s classic, then the production is nothing short of a triumph. Surely there isn’t a production currently running in Scotland that shows more affection for its leads at the expense of story and the rest of its ensemble than this?
The trio are quite funny, delivering the type of performance that audiences have come to expect, but there seems something sad, pathetic even, in the way the production manages to all but downplay most of the classic Pan characters and scenes. Only Shona White, as a rather energetic Tinker Bell, manages to make the production into a musical delight. She absolutely shines whenever she’s onstage, performing her songs with infectious glee.
If only Peter Pan were more of that and less of an excuse for its headlining trio to hog the limelight, the production would be a Christmas theatre joy rather than an ego-fest of three talented performers braying for more stage time and all but screaming ‘look at me!’ while the rest of the cast are forced to sit around in the shadows, waiting for one measly turn to do something Barrie had intended.
All of which makes the production of Irving Berlin’s White Christmas all the more miraculous. Through the melange of fairy tales and comedians of varying popularity (and talent) storming Scotland’s stages, here’s a show with no pretence: it’s a classy musical that is brilliantly executed in every department, from the performances and the design to the rousing finale, complete with snow fall.
Maybe the plot, which revolves around two famed performers trying to do a show to save the hotel business of the general they served under in WWII, is nothing more than an excuse to put Berlin’s music on stage, but so what? Berlin was one of the best musical writers theatre has ever had, and every number presented here shows him at his best.
Perhaps the production works best as a nostalgic hug. The production, set in 1950s New England, paints a warm picture of a world where everyone just wants to be happy or make others happy. None of the characters have a bad bone in their body, and most of the conflicts come from misunderstandings of good intentions. This removal of cynicism could have resulted in a production that was too sweet to stomach: luckily, the production moves at a fast enough pace and the company perform their roles with just enough cheekiness that the whole thing holds together.
With its heart on its sleeve and desire to please more than be clever, White Christmas isn’t just a great production: it just might be the most joyful thing around Scotland this holiday season.
Dick McWhittington performs until January 5 at the SECC. Aladdin performs at the Kings Glasgow until January 12. Peter Pan performs at the Kings Edinburgh until January 19.Irving Berlin’s White Christmas performs at the Festival in Edinburgh until January 4. Check websites for specific times and prices.
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