As with any other pantomime, the Opera House Aladdin has its predictable elements: the unbroken susurration of crisp and sweet bags, the tiniest of the panto kiddies not at all sure she wants to be on stage, a script which could be questioned by the mildest of race relations activists, and, as always, someone in the audience ready to give away the plot. (Which is just as well, as the Opera House has decided not to print any programmes, and provides instead a photocopied cast-list.)

These of course are the conditions on which Billa O'Connell's Dame Twankey thrives, and the entire cast meets the challenge of the packed, excited and wildly participatory punters broadside-on. What is expected is provided with knobs on: brilliant lighting, hearty singing pitched with perfect accuracy at the subteens, Christmas-cracker wit and resplendent costuming. Rhythm is all: so many children have red and pink lightbatons that the auditorium flares like a foundry as they sway to the songs.

What is unexpected here is the visual quality imposed by designer Patrick Murray: from a frolicksome Peking framed by the themed proscenium arch to a magically revealed cave, the stage offers a series of transformations which draw gasps from the audience and which culminate in a finale with smoking dragons and sliding screens. Not so predictable, after all.

Plays until January 23rd, including matinees (booking on 021-274308): no performances today, tomorrow or New Year's Eve