Like thousands of Dubliners, I learned what the meaning of the word "magic" was at the Gaiety Theatre at Christmas. And the word has had its lustre shined up there several times since - I remember the tiny, tinkling coach weaving its enchanted way to the Ball in a Cinderella directed by Mavis Ascott.
Ascott's pantos relied on the quick-change, high-energy format of musicals and were a far cry from the Maureen Potter pantos of my youth. But they created a new form of magic for the TV generation.
In this year's Aladdin, director Michael Scott seems to have made a conscious attempt to return to the pantos of old. The pace is slower, the political gags are back. However, they're not good enough or slick enough. And the show lacks a star of the calibre of June Rodgers to make a link between the world of adult variety and panto.
Michael Grennell as the Widow Twankey is more transvestite than Panto Dame and Barbara Brennan is a chilling Sultana, though not sufficiently horrifying. However, Alan Smyth is a handsome, feisty Aladdin, new comer Ruth Melody, as Prin cess Jade, is full of refreshing Grrrl-power, Richie Hayes is a jolly Wishee Washee and Andrea Edmonds is a genius of a genie. More's the pity that the direction does not give them more movement.
The same goes for Daryn Crosbie's choreography, which doesn't push his dancers or very talented Billie Barries far enough. What with the too-tasteful Chinese-painted cloth settings, the overall impression is one of magic not quite created.
None of this matters, however, when Aladdin's flying carpet lifts off and floats around the hollowed-out gilt and velvet wedding cake that is the Gaiety. For this moment alone, the show is a must-see.
Continues until February 4th at various times. To book, phone: 01-6771717