As soon as the lights faded and Abanazar, the fiendish villain from the East, entered under an evil green light to the hisses and boos of the audience, we knew we were in for a treat at Haslemere Thespians’ performance of Aladdin.

With powerful voice Adrian Stent made himself heard above the jeering mob to set out his plan to become very rich indeed by recovering the Magic Lamp.

Rubbing his magic ring, he summoned the exotic Genie, (Hazel Hawkswell) to cheers from the audience.

She informed Abanazar there’s ‘a lad in Peking’, called Aladdin, who is the only person who can help.

And so it begins and already the audience of all ages have acquired the skills essential in a family pantomime.

The mother and daughter directors – Mary and Helen Coyte – certainly knew how to make a great start to the famous story and sustained it throughout the show.

A huge cast of villagers singing their song of welcome to the new, wonderful day, was led by Aladdin (Caroline Thompson), with special choreography throughout by Lizzie Hales

Sergeant Ping and PC Pong (Fiona McGregor and Naomi Robertson) were the two most stupid policemen you could ever have on a case.

Their job seemed to be to keep total disorder, whether they were chaining up the Emperor or arresting Aladdin. Their cheeky interaction with the audience helped boost the festive atmosphere.

The Emperor of China (John Cabrera), not only looked imperious when required, but could also be very funny, especially in the Pepsi Max song.

Wishee Washee (Arran Treacher-Evans) is upstaged by his pet, the pandemonium creating ‘Nobby the Panda’ (Kim Seymour).

There were many jokes and clever interplay, but the highlight was Nobby falling into the washing machine and shrinking.

The sparky character of Princess Jasmine (Rebecca McGregor) plays the love- lorn rich-girl at times and at others, demonstrates some vicious Karate moves.

And, yes, she did get her man, Aladdin – the two of them sang beautifully with some excellent harmonies.

Widow Twankee (Tony Creasey) filled the stage with outrageous costumes, a strong voice and some excellent songs.

There was a poignant duet ‘A Woman’s Touch’ with Jasmine, as she taught her the finer points of becoming Aladdin’s wife.

Once the Magic Lamp is found, wonderful cockney Genie (Mike Byrne) appeared granting any wish Aladdin might have.

Surrounded by smoke and flashes, he spoke as though a Genie was an everyday phenomenon, although he didn’t really approve of Abanazar who ‘owned’ him for a disquieting while.

The deadpan delivery by Abanazar of his seduction song to Jasmine. using ‘Dad Dance’ moves was surely inspired by the Spice Girls’ hit ‘Two Become One’.

The band, led by musical director Chris Snelling was outstanding. He had specially composed much of the music and the occasional background piece added the most sinister atmosphere, especially when Abanazar was on stage while the sound engineering skills of Mark Raggett ensured all the voices could be heard.

Costumes – co-ordinated by director Mary Coyte – were a delight, culminating in a spectacular finale of the brightest colours of dazzling scarlet. The backstage crew of at least a dozen, under the direction of Luan Moorshead, skillfully and seamlessly switched from scene to scene.

The inside of the palace – looked like a palace – expertly designed by Hazel Hawkswell and constructed by Graham Perrett’s team of carpenters and painters – added much to the production, while the huge cat’s head disguising the Sesame Stone of the cave was most effective.

And, once we saw inside, the cavern was filled with every type of precious stone and, of course, the Magic Lamp.

Some of the many highlights included:

•Aladdin, in the cave, holding up the Magic Lamp in triumph, expertly lit by lighting designer Tony Legat

•The stage filling up with small builders in hard hats and hi-vis jackets and, before you could say Prawn Cracker, they had built a new palace.

A spectacular panto indeed. GUY DAVENPORT