A theatre production of Aladdin has been doing the rounds since 1788 and the panto version dates from 1861.

I'm pleased to say that, in the finest traditions of the genre, some of the puns in this exuberant and wonderfully daft production, directed by former Blue Peter presenter Peter Duncan, are nearly as ancient. As the programme notes proclaim, this is a show of genie-us'. Groans all round When the glitter ball lights in the Playhouse twirled and the curtain went up on Saturday night, the audience - a mixture of young and old -oohed' and aahed' on cue.

Soon afterwards, they were guffawing at the antics of a competent cast capering through a colourful world of hyperactive policemen on children's bikes, an Olympics with a difference, and lurching Egyptian mummies. The star was, as expected, the towering figure of Widow Twankey (Simon Green), who even sported a Pot Noodle in her magnificent hairdo at one point. However, Green had a worthy rival both in Fraser Collins, as the funky disco Genie (toting an Afro haircut and a skintight Lycra outfit which left little to the imagination) and Miles Western as the superbly camp, leering villain Abanazar, who had little difficulty generating boos and hisses.

Not all the jokes and innuendoes, a few of which were aimed at the adults, raised the titters the director would have hoped, and occasionally Aladdin (Michael Steedon) would have been advised to speak up too.

His co-star Charlotte Warren, as Princess So-Shi, was in fine voice on the other hand, as was Michael Remick (the Emperor who falls, inevitably but with a little magical assistance, for Widow Twankey).

Generally it was a marvellous evening's entertainment, with plenty of scene and costume changes.

Technically more ambitious than some pantomimes, this production even features a flying carpet ride as the Genie of the Ring (Lizzi Franklin) whisks Aladdin through the starry skies. But beware the foam guns if youre in an aisle seat or at the front!