ARABIAN NIGHTS - Everyman Theatre, Cheltenham

Arabian Nights takes the story of Scheherazade - the inventor of the cliff-hanger - and stirs in a variety of adventures, genies, hidden treasure and frustrated love in the style of the tales she told. The result is a story as gripping as anything recounted during those one thousand and one nights. It may not feature the hissing, cross-dressing or TV 'celebrities' offered by pantomime, but it still manages to provide a very nasty baddy, a rattling good yarn, and a sizeable dose of enjoyable comedy and music, all combined in a contemporary musical. More importantly, it keeps kids riveted. By being a play which is watched, rather than an extravaganza in which the audience is an active participant, Arabian Nights proves that an audience of young people will happily sit still and enjoy themselves without having to shout "Oh no you won't" every five minutes.

The star is undoubtedly Ross MacKenzie, who gives a performance saturated with all the high camp of a transatlantic pantomime dame as Gromar, the genie racing to regain his powers and defeat the evil Schahzabac. He is aided in his quest by Scheherazade (Emma Jay Thomas) - an excellent and endearing portrayal of a character who is sweet, tough and witty. And naïve - anyone who has ever visited a souk knows that an offer to "show you the way" can lead only to a mugging or a carpet shop.

All this takes place amidst the phantasmagoric colours of the sets and costumes; designer Marty Flood conjures a rich kaleidoscope of brilliance to thrill the eye. The special effects are simple but effective, and with the exception of a highly confusing opening, Richard Taylor's script is straightforward enough for younger audience members to follow, whilst not so simplistic as to bore the adults. The cast contains some fine singers - particularly Joshua Bancel - who firmly underpin the feeling this is more than just another pantomime. With its contemporary musical style, fairy tale backdrop and drawing of parallels between life and stories (turn the page, start anew), the show sometimes feels rather like an Eastern version of Sondheim's Into the Woods - albeit with less of a dark edge.

As a composer, Richard Taylor has a good grasp of the modern repertoire, and produces some strong and catchy numbers ranging from the Sondheimian 'Scheherazade's Panic' and 'Farizad's Despair' to the Bart-esque cheery cockney of 'Wise Up, Dress Down'. However, Mr Taylor still needs to search harder for his own voice; the 'sounds like' effect means that the tune one comes out humming is not his, but - in our case - 'Diamonds Are A Girl's Best Friend'.

Nevertheless, Arabian Nights is an excellent opportunity to introduce your seven year old to the joys of a good musical, with the added attractions of an excellent adventure and just a smattering of familiar pantomime. If your child has passed the age of seven without having seen a proper musical, then you should march them straight down to the Everyman and get them hooked on the habit immediately - otherwise they might end up Lloyd-Webber fans.

TOBY O'CONNOR MORSE