TO Kirkcaldy, and to what Ofpants fondly regards as a ''more dash than cash'' panto, which is well in the spirit and philosophy of Adam Smith: theatre, if not quite Adam Smith: economist.
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What really impresses the Official Panto Watchdog here is the wealth of tiny, imaginative details that are crammed into a fast-moving, well-told traditional story. Lovely touches like the mini-light-show on the front curtain, instead of a static image. Or the Great Wall of China backcloth that is stacks upon stacks of crockery think about it! Or the evil ''magic'' that transforms Princess Wei Wei (Anita Vettesse) into a tiny caged prisoner whom we see for all of 30-seconds - but what an impression that leaves of Abanazar's cruel nature.
And then there's the clever motif of Hollywood musicals that runs, ever so wittily, throughout the second act. Aladdin's new-found wealth prompts an entirely appropriate rendering of We're in the Money where the wee chorus girls are tap-dancing small change (in natty coin costumes) and Alan McHugh's Dame gets in on the act with a stream of cunning, corny ''change'' jokes. The Hello Twankey routine that comes later is similarly stylish and I'll swear McHugh - who is a game, gallus and talented Dame - slaps on a Streisand conk for added effect. Another plus: Gary Hollywood's numpty act as Wishee-Washee which makes him an ideal accessory in the various comedy capers.
You come away feeling that - unlike some glitzier shows with bigger, starrier names - there's no dropping into automatic pilot, here, either in the script or in the performances.
I like Douglas Irvine's devilishly attractive Abanazar who gets meaner and nastier as the action unfolds - no wonder Richard Callen's genial Genie prefers working for the thoroughly decent, personable Aladdin of Kieran Brown. Ofpants left, beaming - and obviously rubbed the right way.