Theatre review: Showstopping dance numbers and dazzling sets help Disney's Aladdin fly
Kid-friendly musical brings Broadway razzle-dazzle to the beloved animated film’s story
Disney’s Aladdin.
Broadway Across Canada presents Disney’s Aladdin to July 30
DISNEY’S ALADDIN is lighting up the stage at the Queen Elizabeth Theatre with a fun theatrical production that’s as dazzling as the title character’s magical lamp.
This stage version of the 1992 animated film keeps the heart of the movie, but dresses it up in fabulous musical-theatre style, complete with showstopping song-and-dance, impressive scenic design and special effects, and unapologetic tongue-in-cheek humour.
Just like in the film, we follow the journey of Aladdin, a young man living in poverty in the fictional Middle Eastern city of Agrabah. We see him fall in love with Princess Jasmine, as well as get used by the evil Jafar—the Grand Vizier to the Sultan—to retrieve the magic lamp from the treacherous Cave of Wonders. We’re led by the charismatic Genie from the lamp, in a tale involving a magic carpet, mistaken identity, and grand adventure. Throughout, the message of staying true to one’s personal integrity shines through.
From the commanding start of the orchestra playing “Arabian Nights”, this production captivates from start to finish. A combination of Disney and Broadway, the show boasts a scenic design by Bob Crowley that takes us from chaotic village market to Jasmine’s pretty-pastel-coloured private chambers to a magic carpet ride through the stars. Crowley uses a number of painted backdrops and mobile set pieces that pay homage to the animated film, and in collaboration with director and choreographer Casey Nicholaw’s inventive staging, adventurous film scenes such as Aladdin’s chase through the village (“One Jump Ahead”) come to life onstage.
Nicholaw, whose credits include directing and choreographing The Book of Mormon, has given Aladdin a Broadway makeover, with large-scale dance numbers throughout. The highlight is “Friend Like Me”, featuring the talented ensemble showcasing several dance styles, including ballroom, and then finishing in a rousing tap sequence glittering in Gregg Barnes’s gold costumes. The latter number is a homage to Busby Berkeley and 42nd Street; on opening night, the audience showed their appreciation with a thunderous ovation. In lieu of some of the animated effects of the film, the dancers dazzle throughout the show with high kicks, bright smiles, and style to burn.
As Aladdin, Adi Roy has Disney-hero stage presence and charm, and a pleasing voice that does justice to Alan Menken’s beautiful melodic score, such as in his solo “Proud of Your Boy”—one of several songs in the show that were originally written for the film, but eventually cut. And it’s great that they’re back: they provide more back stories and character motivations.
Likewise, the stage show also introduces new songs. “These Palace Walls” is a solo for Jasmine, sung wonderfully here by Senzel Ahmady. Throughout, she captures Jasmine’s headstrong attitude and sensitivity, without overacting. The romance between Roy and Ahmady is sweet to watch, and “A Whole New World” is a beautiful intimate moment for them.
Marcus M. Martin is a larger-than-life standout as the Genie—a nonstop powerhouse of energy and charisma. He pulls out all the stops in “Friend Like Me”, including joining along in the tap-dance sequence. Anand Nagraj is delightfully wicked as Jafar, nailing the villainous inflection in his every word and suspicious eyebrow raise.
Two notable character adjustments have been made from the film. Jafar’s sidekick Iago—a parrot in the film—is now a human; and Aladdin’s best friend, the monkey Abu, has been replaced by three young men—Babkak, Omar, and Kassim. The changes serve the stage show well; instead of watching actors resort to using puppetry, or worse yet, dress up as animals, we get to see fleshed-out characters add personality and entertaining subplots to the show.
Aaron Choi is a ball of energy and evilness as Iago. And Jack Letts, Ben Chavez, and Colt Prattes bring fun individual characterization to the roles of Babkak, Omar, and Kassim; as Aladdin’s “boy crew”, the three are engaging in their comedic delivery, especially in “High Adventure”.
Aladdin is enjoyably pantomime-inspired: throughout, characters break the fourth wall by speaking directly to the audience, and misfortune is playfully foreshadowed, with villains Nagraj and Choi milking every moment.
The production is also visually stunning. In addition to the scenery and special effects, as well as Natasha Katz’s effective lighting design, Barnes’s costumes are jaw-dropping spectacular. Female-ensemble looks emulate shades of the Ziegfeld Follies, with sparkling sequins and feathers. And wait till you see the Genie’s costume “reveal”, on par with RuPaul’s Drag Race.
When Aladdin first opened on Broadway, there was criticism that the casting did not reflect the actual ethnicity of the characters. Thankfully, the show has made great strides and the cast we see here is largely made up of BIPOC performers, many of Middle Eastern decent, allowing for both authenticity and representation. There’s also a rousing dance sequence during Aladdin and Jasmine’s wedding set to Middle Eastern dance, a homage to the story’s cultural roots.
For kids, the fresh and modern production is an excellent way to experience Aladdin, perhaps for the first time. It's also a welcome opportunity for Vancouverites to enjoy genuine Broadway grandeur and sizzle, with a Disney heart.
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