IT IS a strange old time of year. What is it about Christmas and the New Year that compels us to suddenly hurl off the behaviour we have clung to the rest of the year and, for a few bizarre days, go giggling about as if we were in Storybookland? Why on Earth do usually sharp, deep and meaningful folk think it perfectly reasonable, for instance, to shove on red hats with furry white bobbles on the end? Take the Chung Ying Theatre Company. The aim of this much-praised professional company, which is subsidised by the Hong Kong Arts Development Council, is to promote original drama by local artists. It has produced shows that have been compared with Derek Jarman's 1984, has taken part in anti-corruption campaigns, does political satires and dark dramas - and then once a year puts on a pantomime. I mean, hello? 'It's a season of festivals,' explains Lee Chun-chow, director of this year's production, Aladdin. 'I just want everyone to have a good time.' The panto will be full of the usual send-ups, jokes and silliness, he adds, remaining faithful to the original story's period background. 'It's the same old story, but it's the storytellers who make the difference.' The characters have modern touches, though. They wear sunglasses and Egyptian wizards sing rock 'n' roll. The company's many faithful followers would expect nothing less. But this being Chung Ying, Lee, the company's assistant artistic director, could not resist at least a little message. 'It is that power which seems magical should perhaps be left untouched,' he says. 'Technology which seems so promising could be leading us to environmental disasters.' Well, that is all right then. Cantonese audiences will have no difficulty identifying with what is, essentially, a very Western show, he adds. Wendy Mok Sin-yu has created an adaptation faithful to the original story. Everyone knows the tale, of course. Wicked Abanazar (Mill Ho Hou-iun) lures Aladdin (Tony Wong Lung-pun) to a haunted cave, where Aladdin discovers a magic lamp and becomes master of a genie of the lamp (Choy Kam-chiu). Aladdin meets a princess (Kearen Pang Sau-wai) and wins her, but rotten old Abanazar locks her up in a palace until Aladdin and the genie rescue her after a big fight. And Aladdin and the princess are rebellious young people with whom local young audiences should be able to identify. 'Aladdin is a brave young kid,' Lee says. 'He dares to stand against the king and to criticise him for trying to marry his daughter off to a rich prince for money. 'The daughter also is a rebel. She fights her father's decision to marry her off. The outlook of the characters is very modern.' The lyrics by Rupert Chan, with musical direction from Pang Chun-kit, take potshots at pop stars such as Andy Hui Chui-on and Sammi Cheng Sau-man, and Police Commissioner Eddie Hui Ki-on. But none of that is a big deal, insists Lee. Staging Aladdin was a natural choice for him. 'I'm obsessed with Arabian culture. When I was young, this sort of story excited me so much - the mystery, the music, the dances, the whole environment. 'Now I get the chance to put it on stage. I've been to Turkey, Egypt and Israel. There's a lot of negotiation with designers going on to get some of that on stage.' The musical's choreography is by Julia Mok Man-yu, set and costumes by Bacchus Lee Fung. The 120-minute production is part of the Regco Festival 1998, presented in Cantonese, as are all Chung Ying's productions. There are lots of special effects, Lee promises, with the genie coming out of the lamp and Aladdin charging about the stage on a carpet that 'flies like a spaceship'. Who needs cutting edge with goodies like that? Aladdin. January 1-2, 7.30pm, Tuen Mun Town Hall; January 8-9, 7.30pm, Tsuen Wan Town Hall. Tickets $90-$220 from Urbtix