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1. ALADIN ON BROADWAY REVIEW MOVIE
2. ALADIN ON BROADWAY REVIEW SKIN
3. ALADIN ON BROADWAY REVIEW FULL
4. ALADIN ON BROADWAY REVIEW FREE

His experience inhabiting the character shows-he can flash a smile and make you temporarily forget Aladdin’s flaws. What the show lacks in coherency of plot it covers for in charm, much of which is thanks to the charismatic lead performance of Adam Jacobs, who created this role on Broadway. Aladdin spends the entire time essentially gaslighting Jasmine into believing he’s someone he’s not, which she quickly forgives in time for the tidy resolution. The entire story relies on the overused and frustrating convention wherein a person undergoes some type of minor transformation, in this case literally just a new wardrobe, but suddenly none of the other characters recognize them. These spectacular moments are crucial because the expanded running time (two hours and 30 minutes versus the film’s 90) illuminates logic problems in the plot, which holds little to no water under scrutiny. With the exception of one perplexing moment when the moon in the sky is re-lit to depict the Earth, implying they have traveled all the way to outer space on their journey, the staging of this song delivers everything you could want from it. The second big ticket number in the show is, of course, “A Whole New World,” which falls in the second act and is beautifully done through a combination of impressive wire work and smart lighting that masks said wires, creating a truly magical effect as Aladdin and Jasmine fly around stage on the magic carpet. The pop culture references are updated to include Dancing With the Stars jokes, and an “ain’t nobody got time for that” even works its way in. This sets the scene for “Friend Like Me,” the show’s first pièce de résistance, which is spectacularly performed by Michael James Scott. The audience applauded as the glitzy, flashy set, glimmering with gold from floor to ceiling, was revealed. Once Aladdin arrives at the Cave of Wonders, however, that all changes. The costumes (Gregg Barnes) are gorgeous throughout, while the sets (Bob Crowley) are at first unimpressive and economical in scenes set in the Agrabah marketplace and palace.

As usual for a Disney musical, the newer material is less memorable than the classics, although there are a couple welcome additions.

ALADIN ON BROADWAY REVIEW MOVIE

The music (Alan Menken) is a combination of the beloved songs from the movie, a few that were cut from the movie and resurrected for the stage, and brand new material written for the stage (lyrics are by Tim Rice, Howard Ashman, and Howard Beguelin).

ALADIN ON BROADWAY REVIEW SKIN

The original Broadway production disappointed some by not casting actors of Middle-Eastern heritage, and the upcoming live-action remake is currently under fire for darkening actors’ skin with makeup and adding a new white character. In 1993, some offensive lyrics in “Arabian Nights” were altered, and the anglicization of the main characters has long been a source of ire, despite the movie being the first Disney film to feature non-white protagonists. As the Genie introduces the setting in the opening number, he makes a point of reminding the audience that Agrabah is a fictional city, which helps evade criticisms specific to any one Middle-Eastern culture. The story definitely feels outdated in terms of cultural sensitivity, but this cloud has hung over Aladdin as long as it has existed.

ALADIN ON BROADWAY REVIEW FREE

Enchanted by a chance meeting with Princess Jasmine (Isabelle McCalla), a free spirit who resents the expectations and rules that come with being a royal, Aladdin uses his first wish to transform himself into a prince better suited to win her heart. Manipulated by Jafar (Jonathan Weir), the Sultan’s power-hungry Grand Vizier, into stealing a magic lamp from a cave, Aladdin finds himself master of a Genie (Michael James Scott), with three wishes at his disposal. Photo Credit: Deen van MeerĪladdin tells the story of its titular character (Adam Jacobs), a scrappy young man who lives on the streets of the Middle-Eastern city of Agrabah, surviving by pulling off sloppy cons to steal food. Any shortcomings are easily forgotten by the time you arrive home, surely still singing “A Whole New World” and “Friend Like Me” to yourself. The brightly colored, exuberant spectacle is designed to be perfectly family friendly while dropping in enough punny jokes to keep the adults in the audience amused. For the most part, this stage adaptation of the 1992 film, which debuted on Broadway in 2014 and still runs there today, delivers exactly what you expect from it.

ALADIN ON BROADWAY REVIEW FULL

There is an inescapable nostalgia factor attached to Disney Theatrical Productions, and it was on full display at the Pantages in Los Angeles last night as the national tour of Aladdin opened to a very receptive crowd.