Review - Aladdin Makes Magic on UK Tour

Gavin Adams and Desmonda Cathabel as Aladdin and Jasmine in the UK Tour of Aladdin, photo by Deen Van Meer

Like my Thanksgiving piece on the 10th anniversary this review is something I've been wanting to write for a while, but life this year had other plans. I first saw the tour in Manchester this summer but, as I couldn't write the review at the time, I ultimately decided to hold off until I saw the show again in Liverpool this month.

I've seen the UK tour 4 times now, with 2 more to go, so I think you can safely say I love it. But what can I say about this show that I haven't already said? One of the beautiful parts of live theatre is that shows continually evolve over time, with each cast and production able to add their own take on the characters and material. This is especially true of a show like Aladdin where characters like the Genie are able to break the fourth wall and speak directly to the audience.

Yeukayi Ushe as Genie and the UK Tour ensemble of Aladdin, photo by Deen Van Meer

Let's get the mixed part of this review out of the way first and talk about some of the physical changes to Aladdin. If you are familiar with the West End (or Broadway) production of the show then you'll notice that several changes have been made to the set and staging for the UK tour. Whether or not these changes were made to accommodate the various theatres on tour, were budget related, or a mix of both is impossible to say but the overall result is, for me, mixed. Sometimes these tweaks made for fun new moments in the choreography, like when Aladdin swayed on a ladder between buildings in 'One Jump Ahead', and I genuinely preferred the staging of Aladdin and Jasmine remaining on the carpet through to their kiss at the end of 'A Whole New World', but sadly there's also a couple of times where the change wasn't as effective, most notably with the entrance to the Cave of Wonders now being a projection rather than a set piece. 

If you've never seen the show before then none of these will affect your enjoyment of it, but I felt the differences were worth mentioning for those who, like myself, have seen the show go through multiple iterations. There's also been a fairly big choreography change for 'Prince Ali' compared with the West End production, but that change isn't unique to the UK Tour and the same revised choreography is currently used on Broadway, and presumably in all currently running productions, as well (and, as I said in my 10th anniversary piece, the new choreography is great but I do miss Abu's cameo).

Tweaks to set and staging aside, this is very much the show that I know and love. Gregg Barnes' exquisite costumes still dazzle, each one a hand made work of art in its own right. Bob Crowley's sets have been revised slightly for the touring stage and new projections have been added to some scenes to go along with Natasha Katz's lighting. The work of all three creatives still comes together beautifully to re-create the animated world on stage with all the brightness and colour you would imagine.

Gavin Adams as Aladdin in the UK Tour of Aladdin, Photo by Deen Van Meer

The seamlessness of the music and story in Aladdin will never cease being miraculous to me. That Chad Begulin was able to take the classic story and iconic songs from the animated original, re-integrate cut characters and songs from Howard Ashman's original vision, whilst adding new songs written for the stage production, and it still all feels right, will never be anything less than magical. With the unique blend of Howard Ashman, Alan Menken, Tim Rice, and Chad Begulin, the music in this show is simply joyous, from the opening 'Arabian Nights' and show stopping 'Friend Like Me' to new numbers like 'High Adventure', you will be dancing in your seat and the songs will be stuck in your head long after the cast have taken their well deserved bows.

Which brings me to the heart of the show - the cast. And I want to start with the ensemble as Aladdin is a show where it is truly the ensemble that makes it what it is. There are so many big production numbers and costume changes, they have to give everything they have to make the show work. And I'm delighted to say that they absolutely deliver. You can feel the energy and joy radiating off the stage as they dance through the marketplace and I couldn't ask for more than that.

The UK Tour ensemble of Aladdin, photo by Deen Van Meer

Leading the cast is the fantastic trio of Gavin Adams as Aladdin, Desmonda Cathabel as Jasmine, and Yeukayi Ushe as Genie.

I still can't believe that this is Gavin's professional debut. He's a fantastic Aladdin, pouring his heart and soul into 'Proud of Your Boy' (my favourite Ashman/Menken ballad) and keeping the show emotionally grounded whilst also nailing the comic timing (and many, many dances) that the role requires. And Desmonda is an equally incredible Jasmine, giving a classic Disney princess a modern touch whilst still keeping her sense of wonder as she explores the market for the first time and goes flying on a magic carpet. The romance between the two is the heart of the show and they both deliver perfectly. 

For the stage production Aladdin and Jasmine have, usually, been cast a little older than they were portrayed in the animated movie so, for me, this was my first time seeing a production where the characters were closer in age to their animated counterparts and I really enjoyed the different feel it brought to the show.

Gavin Adams and Desmonda Cathabel as Aladdin and Jasmine in the UK Tour of Aladdin, photos by Deen Van Meer

Rounding out our young trio of leads is Aladdin's brother from another mother, Yeukayi Ushe's Genie! Hitting the stage with enough energy to power the theatre all by himself, Yeukayi succeeds in putting his own fresh stamp on the Genie, hitting all the same emotional beats and high notes as his predecessors whilst as the same time comfortably making the role his own.

In the four times we've seen the UK tour, I've been fortunate enough to see both Yeukayi and Damien Winchester play Genie. Damien has also made the part his own with his larger than life portrayal of the character. The UK tour is lucky to have two incredible Genies, and I feel very fortunate to have seen both as both actors bring something unique to the character.

Yeukayi Ushe as Genie in the UK Tour of Aladdin, photo by Deen Van Meer

Rounding out the heroes are Aladdin's three friends, Babkak, Omar, and Kassim. On the UK tour this hilarious trio are brought to life by Nelson Bettencourt, Adam Taylor, and Nay-Nay respectively and their high octane 'Babkak, Omar, Aladdin, Kassim' and 'High Adventure' are two of the highlights of the show.

Of course every group of heroes needs some bad guys, and Aladdin has them in Adam Strong's Jafar and Angelo Paragoso's Iago. The two pair together well to bring Agrabah's villainous duo to life, at once deliciously over the top but also careful not to steer into pantomime, with their plotting, scheming, and the occasional evil laughs delighting audiences. Completing the principal cast is Jo Servi's Sultan, who rules over this theatrical kingdom with a visible joy and sense of fun.

Adam Strong and Angelo Paragoso as Jafar and Iago in the UK Tour of Aladdin, photo by Deen Van Meer

Bringing the whole show together is, of course, director and choreographer Casey Nicholaw. Flying carpets aside, the magic and spectacle on display in Aladdin is entirely human with Casey's direction and choreography at its heart. He knows when to go all out and when to let a character or lyric carry the scene. I'm paraphrasing what I said back in 2014 but the heart of the show has not changed so even 10 years later this remains true. But I also want to give a shout out to the UK team and everyone behind the scenes. Shows like these literally take a village and so many people work incredibly hard to make the magic happen.

Gavin Adams and Desmonda Cathabel as Aladdin and Jasmine in the UK Tour of Aladdin, photo by Deen Van Meer

It's hard to believe this show is 10 years old and that this tour is the 11th production of the show. Thirteen years ago, after the pilot production in Seattle, I thought the only way we might get the show in the UK would be with licensed regional/amateur productions. Now we've had a three year run in the West End and the first (but hopefully not last) UK tour is about to conclude after more than a year on the road. And, honestly, that gasp you get from the audience as the carpet flies still makes me smile after all these years. 

As I noted at the start, the touring production has made some compromises with set and staging, but the heart of the show still sparkles as brightly as all the Swarovski crystals on Gregg Barnes' costumes. The music and choreography make you want to get up and dance in the aisles. And that infectious joy still radiates from the stage from an incredible cast giving it their all. I just wish we had more than one week left. See it while you can.

The UK and Ireland Tour of Disney's Aladdin is now in its final week at the Liverpool Empire. You can still get tickets for the final shows here.

Gavin Adams (Aladdin), Yeukayi Ushe (Genie) and the UK Tour ensemble of Aladdin, photo by Deen Van Meer

Disney's Aladdin UK and Ireland Tour opened in Edinburgh at the Edinburgh Playhouse on 24th October 2023 and is currently playing in Liverpool at the Liverpool Empire until 5th January 2025.

Produced by Disney Theatrical Productions under the direction of Thomas Schumacher, based on the Disney film written by Ron Clements, John Musker, Ted Elliott and Terry Rossio and directed by John Musker and Ron Clements.

Starring Gavin Adams, Yeukayi Ushe, Desmonda Cathabel, Adam Strong, Angelo Paragoso, Jo Servi, Nay-Nay, Adam Taylor, and Nelson Bettencourt.

Standbys Damien Winchester and Juan Jackson.

The ensemble features Hannah Amin, Dammi Aregbeshola, Erin Gisele Chapman, Tau-En Chien, Zac Frieze, Georgia Gillam, Jared Irving, James Lim, Harriet Millier, Luchia Moss, Aaron Elijah Patel, Joseph Poulton, Chris Ribz, and Kerry Spark.

Swings Rico Baker, Daisy Barnett, Sarah Benbelaid, Oliver Scheers, Ricardo Spriggs, and Niko Wirachman.

Music by Alan Menken, Lyrics by Howard Ashman and Tim Rice, Book and Additional Lyrics by Chad Beguelin, Directed and Choreographed by Casey Nicholaw, Scenic Design by Bob Crowley, Costume Design by Gregg Barnes, Lighting Design by Natasha Katz, Sound Design by Ken Travis, Music Supervision, Incidental Music and Vocal Arrangements by Michael Kosarin, Orchestrations by Danny Troob, Hair Design by Josh Marquette, Makeup Design by Milagros Medina-Cerdeira, Illusion Design by Jim Steinmeyer, Dance Music Arrangements by Glen Kelly, Music Coordinator Howard Joines, Special Effects Design by Jeremy Chernick, Original Fight Direction by J. Allen Suddeth, Associate Director Ben Clare, Dance Supervisor Kyle Seeley, Associate Choreographer John Macinnis, Technical Supervision by Geoffrey Quart/Hudson Theatrical Associates, Senior Production Supervisor Clifford Schwartz, Production Supervisor Jason Trubitt, Casting by Jill Green CDG, UK Music Associate Daniel Whitby.

The premiere of Aladdin was produced by The 5th Avenue Theatre in Seattle, WA.  David Armstrong, Executive Producer & Artistic Director; Bernadine C. Griffin, Managing Director; Bill Berry; Producing Director.

Aladdin (2019) - Disney Makes Live Action Magic

It’s show time! It feels like forever since Disney announced that they were making a live action version of Aladdin. But we’re finally here and the movie hits the big screen this week. I was lucky enough to attend a preview screening last weekend and Disney really rollout the magic carpet. There was food and drink, a magic lamp, and even a green screen photo op taking you to a whole new world.

Which is all fantastic, but as we know, it is not what is outside, but what is inside that counts. So how was the movie?

Aladdin begins in the most unexpected of places; at sea, with a mariner and his family. After the children become awed by a fancier ship, the mariner decides that it’s time to tell them the tale of Aladdin, the princess, and the lamp.

Like the musical, this Aladdin is the plot that you know but reimagined for a new medium. Disney’s previous live action adaptations have ranged from straight remakes to total reinventions, with Aladdin falling closer to remake than reinvention. But, like with The Jungle Book, it’s not a direct adaptation. The familiar story beats are all there but, like with the stage show, it moves between those moments in new ways, with some new characters and new story beats added in to bring the classic tale to life in a new way.

I’ve said before that this has always been my hope for Aladdin. If you do a beat for beat remake it can feel pointless, fun to watch once or twice but after that you always end up going back to the original, and if you do too much of a reinvention you lose what people loved about the characters and story in the first place. So I’m happy to say that Aladdin does manage to thread the eye of the needle, delivering a film that’s true to the heart of the original whilst offering a new take for a new format and a new generation.

I’m going to say now that spoilers will follow after the next image. Yeah, it’s the story you know but I’m going to be talking about some of the changes made to the characters and story so if you want to stay spoiler free head on over to my review at Movie News Net and come back here once you’ve seen the movie.

Still here? Ok, let’s talk characters!!

I love Mena Massoud and Naomi Scott as Aladdin and Jasmine. It’s well known that Disney cast a wide net in the search for their new Diamond in the Rough and Disney Princess, with casting coming right down to the wire before they started filming, but it was worth it.

Mena’s Aladdin is confident but unassuming, quick to do the right thing and help those less fortunate than himself. The film shows us from the start why he’s the Diamond in the Rough, it’s all too easy to root for the lovable rouge, and when he’s tested later in the film, tempted to be selfish, all you want is for him to do the right thing like he did at the start. From stunt work to singing he captures the essence of everyone’s favourite street rat whilst grounding him in the real world of Agrabah that was created for the film.

As much as Broadway’s Jasmine was a natural evolution of the character, Naomi’s Jasmine is a natural evolution again. Driven by a fierce love of her people, Jasmine desires to one day rule as Sultan. Of all the characters, Jasmine’s arc has developed the most and benefits the most from the film’s longer run time. Locked away, for her own protection, since her mother died, Jasmine runs away due to a desire to see her kingdom and her people. The law is still a problem, she still has to marry a prince, but there is no longer the ticking clock of “your next birthday” hanging over her. It’s an interesting and effective change, and Naomi takes full advantage of it, creating a strong and inspiring leader who’s willing to put the needs of others ahead of herself. Jasmine’s evolution from animation, where she may marry whomever she deems worthy, to stage, where she will rule beside her husband as his equal, to where she ends up here is arguably one of the most satisfying I’ve ever seen as Disney reinvents their classic tales.

How do you replace Robin Williams? Broadway already gave you that answer. You don’t try to. You get a great actor and you allow him to make the role his own (then you sit back and enjoy the well deserved standing ovations and Tony Award). You stay true to the heart of the character and his friendship with Aladdin, and then bring yourself to the role. And that’s what Will Smith does. His Genie isn’t as rapid talking or quick changing, he brings a different type of energy and humour to the role, and he shares a fantastic bond with Mena’s Aladdin. The scene where Genie introduces Prince Ali to the royal family, and Mena and Will just riff off each other, is one of the most hilarious in the movie and was apparently mostly improv!

In fact it’s safe to say that Aladdin’s greatest strength is its three leads. The chemistry between Mena’s Aladdin and Naomi’s Jasmine works beautifully, making your heart soar as they take flight together during A Whole New World. And I’m tempted to say that Aladdin and Genie’s bond is deeper here. They don’t start out as friends as quickly, Genie doesn’t get attached to his masters, their relationship takes time, so by the time they’re the friends we know and love, and Aladdin decides he can’t set Genie free, the scene lands hard. The relationships between Aladdin and Jasmine, and Aladdin and Genie are the heart of Aladdin. Whether it’s Scott Weinger, Linda Larkin, and Robin Williams, or Adam Jacobs, Courtney Reed, and James Monroe Iglehart, or Mena Massoud, Naomi Scott, and Will Smith. Each trio has brought something unique, but all are unmistakably Aladdin, Jasmine, and Genie.

Jafar is the hardest character for me to talk about because he’s one of the biggest changes that I don’t think lands as well as it could. In reimagining the character for live action, Jafar has become more grounded. Marwan Kenzari does a good job in delivering this version of the character. He could be a touch more sinister perhaps, but I loved the new history that Guy Ritchie and John August developed for him. I loved that it made him a dark reflection for Aladdin, a cautionary tale and a warning of what may befall the young hero if he succumbs to the temptations of power, and that it set up his inevitable downfall from the moment we meet him. But I think they played it too straight. Jafar is such an iconic villain, and Jonathan Freeman’s maniacal portrayal, both on screen and on stage, casts a long shadow. The same is doubly true of Iago. Gilbert Gottfried’s loud mouthed and obnoxious parrot is reduced to little more than mimicry. Alan Tudyk does fine with what he has, but there’s so little there.

This sounds a lot more negative than I want it to, because the truth is, in the context of the movie, it works. I enjoyed Marwan Kenzari’s Jafar. It’s just that in playing it straight, the characters never get the chance to escape from the shadows of their animated (and stage) counterparts, which in hindsight makes it a clear missed opportunity. Especially with Iago.

On stage Jasmine lost Rajah but gained three handmaidens. Here Jasmine may have Rajah again (or Raja as they’re apparently spelling it now), but she also has a new friend, Nasim Pedrad’s Dalia. With the expanded narrative of the film, Dalia is a much welcome addition, adding not just a second female character but also a friend that Jasmine can talk with and bounce off as Aladdin does with Genie. There’s plenty of nice comic moments between the two, and between Dalia and Genie, who takes a shine to the young handmaiden.

Whilst I think grounding Jafar didn’t help the character, I loved Navid Negahban’s more serious take on the Sultan as a man who has seen too much war and now only wants peace and to protect his daughter. It really works well for the character and for Jasmine’s extended arc in the movie. The same can be said for Numan Acar’s Hakim. Whilst Razoul, at least in the original film, was little more than Jafar’s henchman and seemingly happy to murder Aladdin, Hakim has a greater role to play.

Another switch is Prince Achmed for Prince Anders. The setting of Agrabah as a port city on the Silk Road opens it up to a world of cultures and influences. And from one of those far away lands comes the lovable but dim Prince Anders, with Billy Magnussen giving a delightful comic turn as a potential rival for Jasmine’s affections. Yes, this prince doesn’t storm out and is still in the palace when Ali arrives, though I don’t think anyone but Aladdin truly considers him a potential match for Jasmine.

As I mentioned before, Aladdin stays true to the heart of the original story. Like the stage production, it's "the plot that you knew with a small twist or two", adjusting the tale to better suit live action as the musical did for theatre. Whilst those two paths often diverge, there were a few occasions where I couldn't help but wonder if the film's creative team had drawn inspiration from the show or if it was just happy coincidence that the two creative teams started from the foundation laid by the original and reached the same conclusions. From little things like "Prince Ali, of Ababwa" and Genie using magic to teach Aladdin to dance, to the already mentioned evolution of Jasmine from animation to stage to live action, and the return of the idea of Genie as the narrator/peddler/mariner. The creative teams certainly seem to have been thinking along similar lines even if their versions of Aladdin are told very differently.

Writer/director Guy Ritchie and writer John August certainly don't try and go for drastic changes, just enough to keep things fresh, and couldn't be accused of padding things out. If anything we get into the action even faster and more economically than we did in the shorter original, going almost straight from Arabian Nights into Aladdin and Jasmine's first meeting. The pacing is quick and effective, freeing up the film's longer run time to dig deeper into its characters and central relationships, plus the odd dance number and new songs, this is a Disney musical after all!

Agrabah looks gorgeous. The colour palette is bright and bold, and the sets look fantastic. I know they built a lot of Agrabah for shooting the movie and it definitely helps in making it feel like a living and breathing space. The costumes are exquisite, especially as we reach the parade and the Harvest Festival. I've even warmed up to Aladdin wearing a shirt, I'm taking it as a nod to his Disneyland look. Whilst the film doesn't reach the level of the Broadway show in terms of productions numbers (sorry anyone who was hoping for a 10 minute long Friend Like Me... was that just me?), the festival dance and Prince Ali parade are a lot of fun, especially as the parade builds to it's climax. And hats off to choreographer Leah Hill, Ritchie, and the visual effects team, translating the animated Friend Like Me, from forty thieves to the fireworks finale, into something that works in a "real world" space can't have been an easy but they pulled it off nicely.

And can we just take a moment to appreciate that Abu's back? I love Babkak, Omar, and Kassim, but it sure was great to see that furry little thief again. After The Jungle Book I shouldn't be surprised, but Disney sure know how to bring CGI animated animals to life. Abu's just as cute as ever. And on the subject of CGI, Will Smith's blue form, along with all his Genie magic and transformations, looks great.

Speaking of great. Alan Menken's score! If you're a Disney fan those three words are probably all I need to say, especially if you grew up in the renaissance era. The music will just take you straight back to your childhood, with subtle call backs to the original score (just listen for To Be Free shortly before Aladdin asks Jasmine on a magic carpet ride) and moments where that old music comes in at just the same time and sweeps you up in a wave of nostalgia and pure musical joy.

The songs are a mix of the iconic Howard Ashman, Alan Menken, and Tim Rice numbers, along with a new song and some new lyrics by The Greatest Showman's Pasek & Paul. Of the original songs, Arabian Nights has changed the most. If you've seen the stage show recently you'll recognise the new line from the introduction ("where you wander among every culture and tongue"), but most of the song is brand new, setting the stage and introducing the characters to the audience. One Jump Ahead has received a punchy update in tone as Aladdin leads the guards on an energetic chase through the city. Broadway fans make sure you keep an eye out for original cast member Marisha Wallace reprising her "still I think he's rather tasty line", that had me grinning from ear to ear. And then comes Speechless. Or the first part at least, introducing the song and setting it up for a much bigger second part in the film's climax.

Will Smith delivers fun new takes on Friend Like Me and Prince Ali, personally my tastes lean more towards the Broadway renditions, given the page we're on I don't think that will surprise anyone, but I do like Will's spin on them, and I'm glad he was given the freedom to do his own thing with them. You can tell he was having a lot of fun. I loved the big ensemble finale to Prince Ali, which is something Will pushed for, so I totally want to give him credit for that. A Whole New World. What can I say? I just wish they'd used the instrumental bridge from the Broadway version so the song would have lasted longer. Mena and Naomi sound great together and the whole scene was just beautiful.

After telling Genie he can't set him free, Aladdin returns to his rooftop home and sings a new reprise of One Jump Ahead as he realises he needs to tell Jasmine the truth (effectively covering the same ground as Proud of Your Boy Reprise in the show). But it's too late, Jafar already has the lamp. Whilst I do miss Prince Ali Reprise I really can't argue with the decision to give this moment to Jasmine with the second part of Speechless. It just works so well for the story, Jasmine's character, and Naomi has an incredible voice.

My biggest musical complaint? There's no reprise of A Whole New World at the end. It works without, I just miss it.

And I've not even mentioned the action yet! From One Jump Ahead to escaping the Cave of Wonders, to the frozen ends of the Earth, Guy Ritchie keeps the action fun and frantic. Whilst the stage show leans more into musical comedy, playing to the strengths of live theatre, the live action adaptation pushes harder towards the action, restoring scenes that were cut for stage and adding a new climax that takes the action out of the palace and into the streets of Agrabah. Honestly, I think it was the right choice. Whilst I can totally understand that some fans will be upset with the change, especially with the other changes to Jafar already mentioned above, I think taking the action out into the city makes for a bigger action set piece in the finale and gave nice moments to Aladdin, Jasmine, and Abu as they raced through the city.

I also want to say how fantastic it is to see such a diverse cast of lead, supporting, and background actors on the big screen. It's something I've come to take for granted during my many visits to Agrabah in both New York and London, but we need to remember that this, sadly, isn't the norm and celebrate the films, like Aladdin, that reflect the world we live in.

So yeah, I loved it. I genuinely loved it. It doesn't manage to top the original, but it is a worthy retelling of the ancient tale. It manages to find that ever so important balance between staying true to the core of the story and characters, and offering something new. Maybe this is no surprise, but it's my new favourite of Disney's live action remakes. If I'm being critical then The Jungle Book is still the best of Disney's recent re-imaginings, but I had more fun at Aladdin. There's a lot of heart, warmth, and joy to Aladdin and I can't wait to see it again.

Review - Aladdin Brings Magic to London's West End

The cast of Aladdin, Photo by Johan Perrson

Three weeks ago I had the privilege of attending the official opening of Disney's Aladdin in London.  To be in that audience of friends, family and fans (and yes a few critics too) was a true once in a life time experience and one I will never forget.

The first time I reviewed Aladdin was for the Tuachan's wonderful regional production back in 2012.  Two years (and many changes) later my wish was granted and the show opened on Broadway featuring most of the principle cast from 2011's original production.  Whilst I loved them both, the difference between those two productions was such that it was like reviewing two different shows.  This time that's not the case.  Yes, there have been changes made for the West End, but it is clearly the same show as the fantastic production that's currently in its 3rd record breaking year on Broadway.  So I've been finding it hard to write this review because, essentially, I've already reviewed the show and in my head I've been desperately trying to find a new angle, something new to say about a show that I've already written so much about.  But you know what?  It doesn't matter.  I'm going to repeat myself because Alan Menken's music is as beautiful as ever and saying Casey Nicholaw is a genius was true then and it's still true now!

So let's start with the similarities.  Aladdin in London features the same creative dream team as the Broadway production.  Gregg Barnes' costume design is simply stunning.  How he wasn't nominated for a Tony Award back in 2014 is beyond me.  It's worth sitting in the front rows of the stalls just to see these beautiful costumes up close, they are truly dazzling and each one is a unique, hand made, work of art.

The Cast of Aladdin, Photo by Deen Van Meer

Bob Crowley's sets and Natasha Katz's lighting come together seamlessly to recreate the vibrant, colourful world of the animated film on stage.  The way the lighting affects the mood and colours within the Cave of Wonders is marvellous to behold.  Aladdin is a visual feast from beginning to end and the magic carpet ride in "A Whole New World" is worth the price of admission all on its own.  Don't ask how the carpet flies, just smile because it does and it's pure Disney magic at its best.

What can I say that I haven't already said about Alan Menken?  He, along with his many talented lyricists, wrote the music of my childhood.  For Aladdin he worked with three of the best.  Howard Ashman, whose original songs find new life here, Sir Tim Rice and Chad Beguelin.  The music in Aladdin is simply joyous and will be stuck in your head long after leaving the theatre.  As I said when I reviewed the Broadway production, Chad Beguelin (who wrote the show's book as well as the new songs) has my deepest respect and thanks for the seamlessness that the show has in both its story and music.

Bringing everything together is Director and Choreographer Casey Nicholaw.  As I said earlier, Casey is a genius.  I'm just going to quote what I wrote back in 2014 because it's just as true now as it was then;

"Magic carpets aside the spectacle of Aladdin is almost entirely human, this is a modern version of the traditional song and dance musical comedy and Casey Nicholaw's choreography is at its heart.  "Friend Like Me" and "Prince Ali" show that he knows how to build spectacle, but quieter moments like "Proud of Your Boy" (particularly its second act reprise) and "A Million Miles Away" show he also knows when to pull back and let the characters carry the scene, and with "A Whole New World" he manages to pull of both spectacular and intimate at the same time."

Like I said, genius.

Though the production is the same there are still some surprises in store for those who have seen the Broadway production as the show has been suitable tweaked for a British audience.  I'll be honest and admit that I often tended to prefer the original lines (whether that's through familiarity or because my sensibilities tend to skew more American I'm not sure) but I loved Genie's "No, I'm from New York!", the way his pre-show shopping poked fun at Britain's typically wet weather and every time I've seen the show the audience has loved the Bruce Forsyth reference!

Trevor Dion Nicholas as Genie, Photo by Deen Van Meer

And speaking of Genie, I said it after seeing the show's first preview and I'm saying it again now, Trevor Dion Nicholas is a star!  When Aladdin was being brought to stage one of the biggest questions was how do you follow Robin Williams as Genie?  James Monroe Iglehart was Broadway's answer.  In London the question was very likely how do you follow JMI?  Trevor is the answer!  From the moment he steps out on stage his energy and joy fill the theatre as he effortlessly makes Genie his own.  Trevor holds the audience in the palm of his hand, more often than not as he has them in stitches but also in some of the show's more tender moments as a man yearning for his freedom.  Just give the man his Olivier Award!  I've seen the show 10 times and I can safely say that I have never seen a  "Friend Like Me" like the performance I saw on opening night.  The level of energy that Trevor and the rest of the cast gave off (and that the audience gave back) was simply out of this world.  It was phenomenal and brought the crowd straight to their feet in a well deserved standing ovation.

Of course you can't talk about Trevor and "Friend Like Me" without talking about Aladdin's spectacular ensemble.  I simply can't say enough about the ensemble.  They make the show, it's that simple.  This show has massive production numbers, from the opening "Arabian Nights" to the show stopping tour de force of "Friend Like Me", from the infectious joy of "Babkak, Omar, Aladdin, Kassim" to the quick change visual feast of "Prince Ali" they give everything they have and then some to make this show as magical as it can be.  Writing my initial thoughts after the first preview I praised the ensemble but then asked them to give even more.  On opening night they didn't just raise the bar, they exceeded all of my (impossibly high) expectations.  And it wasn't just opening night energy, they did the same again the next night too.  This cast give off so much energy and joy you just can't help but want to get up and dance and sing with them.  That joy, to me, is what makes this show so special.

But for all the show stopping spectacle, it's Dean John-Wilson's Aladdin that is the heart of the show.  It really heartens me to say this as when I saw the first preview I thought Dean was great but it was Trevor's show.  Now, Trevor is still the star attraction and steals every scene he's in, but it's Dean's show and his relationships with Trevor's Genie and Jade Ewen's Jasmine that drive the production.  Out of everyone he has improved the most from 1st preview to opening night and he's become a true leading man.

Jade Ewen looks every inch the Disney Princess and she's clearly loving bringing the spirited and forward thinking Jasmine to life.  Like Dean, she's grown into the role and the two share a great chemistry as the romantic leads of the show.

Dean John-Wilson and Jade Ewen as Aladdin and Jasmine, Photo by Deen Van Meer

But what are heroes without villains?  Don Gallagher brings Jafar to life with a skilled balance, at once villainously over the top (which the character demands) but without descending into pantomime.  He succeeds in making the character his own, which is no easy feat when you consider who plays the role on Broadway.  Together he and Peter Howe plot, scheme and evil laugh their way through the show to the delight of the audience.  Peter's Iago is hard for me to review.  When I think of Iago I think of Don Darryl Rivera.  That's not a fault of Peter's performance, it's a compliment to how well (to me) Don Darryl embodies the role.  When I saw the first preview I felt that Peter was trying to imitate how Don Darryl plays the role and it didn't quite connect for me.  Seeing the show again on opening night Peter was playing Iago slightly differently, making it more his own, and gave a much better performance.  I would love to see him take it even further in this direction and truly make it his own.  He and Don work well together and make a great evil duo.

As the Sultan, Irvine Iqbal brings a touch of royal class to the proceedings.  He displays the majesty you would expect of a Sultan and at the same time delivers his comic lines with a mischievous twinkle in his eye.  Completing the principal cast are a trio of new characters, Babkak, Omar and Kassim.  Brought to hilarious life by Nathan Amzi, Rachid Sabitri and Stephen Rahman-Hughes respectively these three friends of Aladdin's are some of my favourite characters in the show and their fantastic rendition of "High Adventure" is one of the highlights of the second act.  And I have to say, Omar might not like weapons but Rachid wields that scimitar like a pro (which it turns out he is)!  Ultimately I can think of no higher compliment than to say whilst I was watching them I found myself wishing their characters hadn't been cut from the film as I'd have loved these characters to have been part of the nineties animated series so I could go on more adventures with them.

In conclusion, to steal a line from the show, London's Aladdin is the show that I knew with a small twist or two but the changes they made were slight.  Aladdin is my favourite show and the London cast and creative team have delivered a brilliant production that delights from beginning to end.  It's been 17 years since Disney transferred a musical from Broadway to the West End and it's been worth the wait.  No diamond in the rough, this Aladdin is shining, shimmering, splendid, a musical and visual delight that I look forward to revisiting again and again.



Aladdin: The New West End Musical officially opened in London on 15th June 2016 at The Prince Edward Theatre.  Produced by Disney Theatrical Productions under the direction of Thomas Schumacher, based on the Disney film written by Ron Clements, John Musker, Ted Elliott and Terry Rossio and directed by John Musker and Ron Clements.

Starring Dean John-Wilson, Trevor Dion Nicholas, Jade Ewen, Nathan Amzi, Stephen Rahman-Hughes, Rachid Sabitri, Don Gallagher, Peter Howe and Irvine Iqbal

Standbys Leon Craig, Fred Johanson and Oliver Lidert

The ensemble features Daniel De Bourg, Albey Brookes, Bianca Cordice, Ivan De Freitas, Melanie Elizabeth, Kade Ferraiolo, Seng Henk Goh, Anthony Hewitt, Michelle Chantelle Hopewell, Mitch Leow, Ethan Le Phong, Thierry Picaut, Alex Pinder, Briony Scarlett, Kyle Seeley, Sadie-Jean Shirley, Dawnita Smith, Marsha Songcome and Jermaine Woods

Swings Arran Anzani-Jones, Miles Barrow, Lauren Chia, Katie Singh, Ricardo Spriggs and Kayleigh Thadani

Music by Alan Menken, Lyrics by Howard Ashman and Tim Rice, Book and Additional Lyrics by Chad Beguelin, Technical Supervision by Geoffrey Quart/Hudson Theatrical Associates, Production Supervisor Clifford Schwartz, Associate Director Scott Taylor, Associate Choreographer John MacInnis, Resident Director Tim English, UK Associate Choreographer Ben Clare, Casting by Jill Green CDG, Dance Music Arrangements by Glen Kelly, Musical Director Alan Williams, Electronic Music Programming Jeff Marder, Orchestral Manager Andy Barnwell, Original Fight Direction by J. Allen Suddeth, Sound Design by Ken Travis, Hair Design by Josh Marquette, Makeup Design by Milagros Medina-Cerdeira, Illusion Design by Jim Steinmeyer, Special Effects Design by Jeremy Chernick, Costume Design by Gregg Barnes, Lighting Design by Natasha Katz, Scenic Design by Bob Crowley, Orchestrations by Danny Troob, Music Supervision, Incidental Music and Vocal Arrangements by Michael Kosarin, Directed and Choreographed by Casey Nicholaw

The premiere of Aladdin was produced by The 5th Avenue Theatre in Seattle, WA.  David Armstrong, Executive Producer & Artistic Director; Bernadine C. Griffin, Managing Director; Bill Berry; Producing Director.

Tickets are available from Disney Tickets.

Aladdin One Year On

Adam Jacobs and Courtney Reed as Aladdin and Jasmine, Photo by Matthew Murphy

Last month Aladdin celebrated its first anniversary on Broadway and I was lucky enough to be able to return to New York and see the show again.

The first thing that strikes you when you arrive at the New Amsterdam Theatre is the new entrance way.  Gone is the show logo and in its place is the Cave of Wonders, complete with a magic lamp for guests to rub and make a wish.  It's a great touch and a big improvement that offers guests a little interactivity and a photo opportunity before they enter the theatre.

I'm not going to do a full review of the show itself (you can read my original review here) but I do want to talk about the cast.  Whilst Aladdin has been lucky enough to keep almost all of its principal cast, the last year has seen a few changes in the ensemble and, of course, the arrival of Steel Burkhardt as Kassim.  Steel has done a fantastic job of making the character his own whilst still remaining true to the character the Brandon O'Neill created.  It's a wonderful performance and he works perfectly with Brian Gonzales' Babkak and Jonathan Schwartz's Omar, the trio is as hilarious as ever.  And speaking of the trio, I love the "random high note" line that Brian Gonzales has added to "High Adventure"!

I was blessed to see Trevor Dion Nicholas' show (and Broadway!) debut as the Genie!  If I hadn't been told after that it was his first night I never would have guessed.  He gave a phenomenal performance and got a well earned standing ovation after "Friend Like Me".  He didn't have easy shoes to fill but he rose to the challenge and gave the audience everything they could wish for in a Genie.

I've been wanting to see Merwin Foard since I learned that he was Cassim's singing voice in Aladdin and the King of Thieves (and appeared in lots of other Disney features as well).  I got my wish this time and he did not disappoint.  Merwin's Sultan is a powerful figure with a commanding presence and a delight to watch.  I also got to see Dennis Stowe take on the role of the villainous Jafar and he did a great job.  What I loved most about seeing the standbys and understudies was that none of them simply copied the original performance, they all made the roles their own, adding their own take on the material and their own little embellishments to the parts. It's one of the joys of live theatre, no two performers or performances are completely alike, there's always something new to take in.

One of the most joyous things about seeing Aladdin one year later was just to see how much the cast are loving it.  It seemed that everyone was totally relaxed and comfortable with their characters and were just having fun playing with them every night.  Adam and Courtney remain absolutely perfect as Aladdin and Jasmine, bringing them to life with charm and ease and Don Darryl Rivera somehow manages to get even bigger laughs than I remember as he seemingly revels in Iago's villainly and crazy over the top evil laughs. Seriously, he's hilarious and always manages to get some of the biggest laughs of the night.  He also works so well with Jonathan Freeman's Jafar (Jonathan was back in the second time we saw the show), their stage chemistry is brilliant. The whole production just has an infectious joy to it and in some of the numbers, like the fantastic "Babkak, Omar, Aladdin, Kassim", you just want to get up and dance (and this is coming from a guy with two left feet). You can't help but leave Aladdin feeling uplifted and that's the real magic and why it remains my favourite show.

Review - The Hunchback of Notre Dame is Disney's Latest Masterpiece

Michael Arden as Quasimodo with the Congregation in the La Jolla Playhouse production, Photo by Kevin Berne

 

 

I'm going to start this review at the end. If you haven't seen this show and you have the ability to get to the Paper Mill Playhouse before it closes on April 5th then don't bother reading this, just get to their website (or call them) and get any seats they have left right now!  Need to drive across the country, or even fly around the world? If you can afford it, do it!  It's been almost ten years since I walked out of a theatre and went straight back to the box office to buy more tickets and I have NEVER seen the same show twice in one day before.

On leaving the matinee my wife and I literally walked back to the station to make sure the trains ran late enough then went straight back to the theatre to get tickets for the evening performance.  Yes, there's been a lot of talk of The Hunchback of Notre Dame going to Broadway, and I wish with all my heart for that to happen, but there's no guarantees.  We'd both waited years to see this and knew that, even if it does go to Broadway, it could be years before we see it again and we weren't ready to let it go after just one performance.  It's also a show that demands a second viewing.  After an extremely insightful talkback session with the cast after the matinee I found myself taking in small details and nuances that I'd missed the first time.

The first thing that strikes you on entering the theatre is Alexander Dodge's magnificent set.  As there is no stage curtain the majesty of Notre Dame greets you the moment you step into the auditorium.  This is not your standard Disney set, it's a black and white checkered floor with wooden beams and walkways adorned by stone gargoyles, the only colour coming from the magnificently recreated stained glass window that looks down on congregation from above.  And the bells, when they come down and are rang by Quasimodo, are simply breath taking.  The realism of the set is a reflection of the real, human focus of the production.  Whilst you can recognise the structure of the Disney film in this new musical, this is a more mature telling of Victor Hugo's classic story and much stronger for it as the focus is placed almost entirely on the four leads and their interlocking story and relationships.

The second thing that strikes you is the sound.  The choir take their places and the familiar choral opening of "The Bells of Notre Dame" begins, growing stronger as the congregation (ensemble) and cast, led by Erik Liberman's Clopin, all enter cloaked in hooded robes.  The onstage choir (Continuo Arts Symphonic Chorus for this production) is used to fabulous effect throughout the entire production, including a wonderful Entr'acte in Latin, and just brings a added richness to what is already Alan Menken's best score.  In contrast to the choir the ensemble is relatively small, made up of just 14 people who seamlessly transition from Parisians to Romani to Gargoyles to Cathedral Guards, as well as portraying several secondary characters throughout the piece, sometimes even within the same scene.  Everyone sounds fantastic.  The Hunchback of Notre Dame contains some of Alan Menken and Stephen Schwartz's best work, it's rich, powerful and beautiful, and it's brought to life effortlessly by this incredibly talented cast.  Put bluntly, this show sounds gorgeous.  It needs to go to Broadway for that alone, the world deserves a cast album of this show.

And what a cast it is!  The first character we're introduced to is Erik Liberman's Clopin Trouillefou.  Clopin's role seems both smaller and larger than it was in the film.  He is no longer the main narrator of the piece as that role is now filled by the ensemble, but he feels like a fuller character with real relationships with both Esmeralda and, surprisingly, with Phoebus.  I love his character arc with Phoebus, it's small and only in a few scenes but I think it works extremely well.  Erik Liberman has added greater depth to Clopin. Whilst he's still the theatrical King of the Gypsies we now get to see the truth behind the facade of a man who cares deeply for his people.  He doesn't even display anger at the prejudices that his people are subjected to, instead Liberman's Clopin has a weary, reluctant, acceptance of the world he must live in.  It's a role that allows Liberman to be both theatrically over the top and subtle and nuanced and he embraces it.

One of the greatest changes for the stage adaptation is the fleshing out of Frollo.  Instead of the outright villain of the animated classic, Frollo here is introduced as a good man and Patrick Page plays his tragic downfall masterfully.  I've wanted to see Patrick since seeing a video of him singing "Be Prepared", there's a reason he's considered one of Broadway's greatest villain actors and he does not disappoint.  His "Hellfire" is one of the highlights of the show, staged simply but incredibly effectively with Page visibly shaking as he kneels praying at the start.  His Frollo is a lesson in how fanaticism is self defeating as Frollo is ultimately corrupted not by Esmeralda but by his own self righteousness.  It's an incredibly complex performance that has you both loathing Frollo and his actions but also sympathising with him and wanting to see him redeem himself because you know he has it within him to be a good man.

 

Michael Arden as Quasimodo and the Congregation, Photo by Matthew Murphy

Where do I even start with Michael Arden?  I think the greatest compliment I can pay him is to simply say he IS Quasimodo.  From the moment he enters in "The Bells of Notre Dame", asking the audience "what makes a monster and what makes a man" as he transforms into the titular Hunchback before our eyes he is magnificent in both voice and physicality, embodying the role in a way I've never seen before and giving spine tingling renditions of "Out There" and "Made of Stone" (the latter of which moved me to tears in a way it never has before).  It was fascinating to listen to him speak on how he created the role during the cast talkback, where he spoke of how he tied a belt around his knees and examined how that affected his movement and posture.  Watching the show a second time with that knowledge you could see it in his movement.  His performance was a master class in character creation and if/when this show does go to Broadway I'm certain there's a Tony Award in his future.

Andrew Samonsky's Phoebus de Martin is another character who benefits greatly from the musical's more mature tone and increased character depth.  No longer the shining knight of the film, Phoebus is now flawed and haunted by his time at the front.  His introduction in "Rest and Recreation" now includes a beautifully haunting moment as Phoebus recalls his "four years at the front" and vows never to return to that life.  Andrew Samonsky perfectly portrays Phoebus' transformation from haunted soldier to man reborn through his love for Esmeralda, and their relationship is arguably the most realistic and heart breaking that Disney have ever put on stage, venturing into dark places that challenge the audience as well as the characters.

Ciara Renee as Esmeralda with the Congregation, Photo by Matthew Murphy

Whilst Arden's Quasimodo is clearly the lead, it's Ciara Renee's Esmeralda who is the thread that binds all the other characters together and her actions that drive the story forward.  Renee brings Esmeralda to life with a perfect balance of compassion, determination and fragility.  It's easy to see why Quasimodo, Frollo and Phoebus all become obsessed with her as it's a mesmerising performance that will literally move you to tears in parts of the show.  Her duet with Andrew Samonsky's Phoebus is one of those moments.  Cut from the film (ultimately replaced by "God Help the Outcasts") but restored here, "Someday" is at once grand in its message but intimate in its telling, and sung beautifully by Renee and Samonsky.
One of director Scott Schwartz's aims with this piece was to make this a more intimate telling of Quasimodo's story and to bring it to life using classic theatrical techniques that would have been around in the period during which the story is set.  Now, if you've ever heard the cast recording for the Berlin production of Der Glockner Von Notre Dame you'll know that intimate probably isn't the first word that comes to mind.  That was an epic, large scale telling of the story and the cast recording (even when you barely know a word of German) sounds glorious!  I don't mind admitting that when I heard this new production of The Hunchback of Notre Dame was going to be a more intimate production I was worried that some of that would be lost.  It's not.  The music is as rich as ever thanks to an incredible cast and on stage choir.  The intimacy comes from a greater focus on character and story over technical special effects.  There's no jaw dropping special effects like Aladdin's flying carpet in this production, but the staging, whilst simple, is incredibly effective with pews and balustrade doubling as doorways and prison cells.  There's a moment in "Out There" where members of the congregation lift a bench that Quasimodo is standing on and he slides down it, instantly calling to mind the waterway he slid down in the film.  There's never any confusion with what's going on or what is being represented and it keeps your focus squarely on the actors and the story being told.

The choreography, by Chase Brock, is likewise simple but effective with Esmeralda's dance in "Rhythm of the Tambourine" being as seductive and enchanting as it needs to be.  The lighting by Howell Binkley is equally superb but perhaps best viewed from a slight distance.  We were sat in the un-tiered front rows the first time we saw the show and I missed some of the effects (like when the sunlight shines on Quasimodo during "Out There"), viewed further back the second time I was able to take in the full stage and the full effect of the set, choreography and lighting.

Patrick Page as Frollo with the congregation in the La Jolla Playhouse production, Photo by Kevin Berne

It took The Hunchback of Notre Dame almost 15 years to make it from Berlin to America and I can safely say that it was more worth the wait.  In fact the only criticism I could possibly give is that the narration (which I thought worked extremely well) slightly slows the climatic build up of the music in "Esmeralda" and "Finale Ultimo" BUT that's only in comparison to the Berlin cast album which I've got so used to listening to, without that to compare it to I wouldn't have even thought of it and there's an extremely successful bit of narration from Quasimodo that's been added right at the end that I thought was extremely touching.  The show is, quite simply, a masterpiece and Disney Theatrical needs to bring it to Broadway as soon as they possibly can.  But, being an incredible piece of theatre isn't enough for this show, it's also contains an extremely powerful message that is as relevant today as it ever was.  We all have good and evil, monster and man, within us, we all have differences, "flaws" that we'd like to keep hidden from the rest of the world if we could.  The world would truly be a better place if we could all accept, as Esmeralda does, to not turn the other way, that "it has to be somebody's business" and accept each other for who we are.  This is a show that needs to be seen.

Broadway News Round Up 15

Adam Jacobs as Aladdin, Photo by Cylla Von Tiedemann

I hope you all enjoyed the interview with Adam Jacobs last week!  I have to say I was so happy to be able to do that again and once again a massive thank you to Adam and to Disney Theatrical for making it happen.

Ok, on with this week's news round up!

First up this week is a new video from Disney on Broadway's official YouTube channel.  This one is a little different to their previous Aladdin offerings, a fun little lyric video for "Prince Ali";

Now be honest, how many of you were thinking "so that's what the words are!" :-)

Last week also marked the one year anniversary of Courtney Reed officially signing on to play Princess Jasmine on Broadway and she posted a #TBT picture on Instagram to celebrate.  Like I said last week, time really has flown this year!

Bit of a short round up this week so I figured I'd end on a new review posted by a Disney fan who had mixed feelings about seeing the show and ended up "having more appreciation and love for the street rat's story than I ever had during my childhood!"

Review - Aladdin Soars to A Whole New World on Broadway

Adam Jacobs as Aladdin, Photo by Deen Van Meer

What a difference 3 years makes.  When Disney first announced that Broadway's Aladdin would be an "all new" production I was sceptical.  Of course I was expecting new sets, new costumes and new special effects befitting a Broadway production with a bigger budget, along with some changes to the book and songs following feedback from the Pilot, regional and international productions, but to call it a completely new production?  That seemed a little excessive.  But, true to their word, that's what Disney have delivered.  The show that opened on Broadway on 20th March is an entirely new version of Aladdin.

Whilst the original production attempted to go back (as much as the film's story would allow) to Howard Ashman's original vision of Aladdin, this new production retains the musical comedy tone that Ashman envisioned but moves the story back closer to that of Disney's animated classic.  In particular, the removal of Aladdin's three friends as narrators (along with 3 reprises of Arabian Nights) noticeably changes the structure and pace of the show, and, as much as I did enjoy their 4th wall breaking antics, I have to admit that the show is much stronger for the change.

With Aladdin's friends no longer narrating, it is James Monroe Iglehart's Genie who now opens the show.  Appearing on stage to thunderous applause he quickly sets the tone for the evening, telling the audience "it is not what it outside, but what is inside that counts ... wow, got a little deep there".  Yes, this is Aladdin, but with a decidedly musical comedy twist.  Welcoming the audience to Agrabah (where "even our poor people look fabulous and everyone here has a minor in dance") he introduces us to our heroes and villains whilst leading the ensemble through a vigorously performed and expertly choreographed rendition of Arabian Nights.  It's a fantastic opening to the show, showcasing the vocal talents of the entire cast along with the energetic choreography of Director Casey Nicholaw and the rich and vibrant colours of the costumes, sets and lighting (more on those in a bit), and the best is still to come.

As a massive Disney fan, and an even bigger Aladdin fan, there was so much that I loved about this production, but if I had to pick just one thing that truly stands above the rest it would be the cast.  The energy and enthusiasm of this cast is simply infectious and you just can't help but smile along with them as they sing, dance and joke their way through this enchanting re-telling of the classic story.  Between Aladdin and Newsies Disney must have two of the best, and certainly hardest working, ensembles on Broadway.  This is a cast that's giving it their all and clearly loving every moment and no where is this more evident than when James Monroe Iglehart's Genie takes centre with a literally show stopping performance of Friend Like Me that brought the audience to their feet both times I saw the show.  Iglehart and the ensemble sing, dance, perform magic tricks and even have time to sing a few old classics before bringing everything to a rousing tap dance finale.  I can say without any doubt that the cast recording, as phenomenal as I expect it to be, just won't be able to do this song justice, you simply have to see it for yourself.  Iglehart, Adam Jacobs' Aladdin and the entire ensemble deserve every second of the applause and standing ovations that they have been receiving.



James Monroe Iglehart as Genie, Photo by Cylla von Tiedemann

But as incredible as Friend Like Me is, it wasn't my favourite moment in the show.  That came in Act 2 as Adam Jacobs' Aladdin asked Courtney Reed's Princess Jasmine "care to go for a ride?"  As she joined him on the magic carpet and the set pulled away the audience burst into applause as they took flight with no visible wires or support.  A Whole New World has never looked or sounded better and I'm not ashamed to admit that I had tears of joy in my eyes as I watched part of my childhood come alive on stage.

The heart of the show is Adam Jacobs' Aladdin, his romance with Courtney Reed's Jasmine, friendship with James Monroe Iglehart's Genie and his desire to make something of his life, a desire perfectly captured by Ashman/Menken's "lost" classic Proud of Your Boy and carried through the show by two new Menken/Beguelin reprises.  Adam Jacobs brings Aladdin to life with an earnest charm and winning smile.  He looks and sounds like Aladdin brought to life, if you closed your eyes at the start of One Jump Ahead you would swear you were watching the film, but more importantly he succeeds in finding the emotional core of the character, especially in the show's quieter moments like his duets with Jasmine and in his moving performance of Proud of Your Boy.  As Jasmine, Courtney Reed both looks and sounds beautiful as she brings the strong willed princess to life.  If there is any character who has benefitted most from the changes to the show then it's Jasmine.  Gone is the girl who playfully scarred off suitors by playing a diva in Call Me a Princess, in her place is modern, progressive woman (this Jasmine doesn't just want to marry for love, she want to rule at her future husband's side as his equal) and a beautiful new Menken/Beguelin song that better reflects Jasmine's character and her desire to explore beyond These Palace Walls.  More is also made of Jasmine's first experience of the market place and Courtney Reed gives Jasmine a sense of wonder as she takes in this new world.  The chemistry between Courtney and Adam is fantastic and their duets are some of my favourite moments in the show.

Adam Jacobs and Courtney Reed as Aladdin and Jasmine, Photo by Deen Van Meer

James Monroe Iglehart brings Genie to life with enough energy to light up Times Square all by himself!  Successfully taking the character back to Howard Ashman's vision of a Fats Waller/Cab Calloway song and dance man he makes the roll his own whilst still retaining the essence of Robin Williams' iconic film performance.  He's a born entertainer and holds the audience in the palm of his hand every moment he's on stage and leaves them begging for more every time that he goes back into his lamp.  One of the biggest questions about bringing Aladdin to the stage has always been "how do you do the Genie?"  James Monroe Iglehart is the answer.  Casting Jonathan Freeman as Jafar is at once obvious and absolute genius, his voice is so iconic and distinctive that the moment you hear it you think "Jafar!" but what really surprised me was just how much he looked the part as well.  His facial expressions in some scenes were absolutely perfect.  Jonathan knows the character inside and out, he knows what makes him tick, his mannerisms and his psychosis and he uses this to great effect, bringing the character to life as well on stage as he did on screen.  He is also perfectly paired with Don Darryl Rivera's Iago.  Though Iago has been changed from parrot to human (with a few knowing references to his avian origins) he still remains the same slightly abrasive, slightly sadistic character that everyone loved from the animated classic.  Making his Broadway debut Don Darryl Rivera displays expert comic timing and is perfectly cast as Jafar's evil henchman.  He and Jonathan Freeman have such fantastic chemistry together that it's a joy to watch them as they plot and scheme how to take control of Agrabah (with a healthy dose of grovelling on Iago's part).

Though Jafar still has Iago, in bringing the film to the stage Aladdin has lost Abu.  As much as I love the mischievous little monkey it was a smart choice, this isn't like The Lion King where everyone is an animal and a man in a monkey suit would look out of place in the world that Casey Nicholaw and his team have created.  In his place Aladdin now has three new friends, the courageous Kassim, the romantic, but slightly cowardly, Omar and the permanently hungry Babkak, brought to life by Brandon O'Neill (making his Broadway debut), Jonathan Schwartz and Brian Gonzales respectively.  No longer narrators the trio's roles have been reduced slightly since earlier productions of the show but this has ultimately strengthened their roles as Aladdin's friends.  The three give great performances and their high octane and comical rendition of High Adventure is one of the standout moments of the show's second act.  Brandon O'Neill also shows off his voice acting talents by providing the low rumbling bass of the Cave of Wonders.  Completing the principal cast, Clifton Davis brings a new gravitas and dignity to the Sultan and I'm happy to say that the part has been expanded from the film and earlier productions giving him a bit more to get his teeth into, including a new reprise of Prince Ali.  I also want to compliment standby Michael James Scott who gave a fantastic performance as Babkak at one of the two shows I attended.

Jonathan Freeman as Jafar and Don Darryl Rivera as Iago, Photo by Deen Van Meer

In addition to a dream cast Aladdin also had a creative dream team.  Bob Crowley (Scenic Design), Gregg Barnes (Costume Design) and Natasha Katz (Lighting Design) have between them managed to re-create the rich and vibrant look and colours of the animate film on stage making Aladdin a visual feast from beginning to end.  The costumes are just dazzling and the Cave of Wonders is a sight to behold both inside and out.  Speaking of sights to behold, I don't know how Illusion Designer Jim Steinmeyer made the magic carpet fly and I don't want to, I'm just happy that he did.  A Whole New World is simply breath taking.  Which brings me nicely to the music.  Alan Menken has always been my favourite composer and this show doesn't disappoint.  It has everything from soaring ballads and romantic duets to toe tapping show stoppers and even a sung action scene!  Considering that the show has three lyricists there is a remarkable seamlessness to both Aladdin's story and music and for that writer and lyricist Chad Beguelin has my deepest thanks and respect.  In addition to the Howard Ashman/Alan Menken and Alan Menken/Tim Rice songs from the film Aladdin brings back three of the best Ashman/Menken songs that were cut from the movie and has four new Menken/Beguelin songs and a few new reprises as well.  I've had these songs stuck in my head since leaving the theatre and can't wait to re-visit them when the cast album is released.  In charge of all of this is Director and Choreographer Casey Nicholaw.  The Tony Award winning Director of The Book of Mormon may have seemed like an odd choice when Disney were looking for someone to helm their next family friendly musical but Casey was undoubtedly the man for the job.  Magic carpets aside the spectacle of Aladdin is almost entirely human, this is a modern version of the traditional song and dance musical comedy and Casey Nicholaw's choreography is at its heart.  Friend Like Me and Prince Ali show that he knows how to build spectacle, but quieter moments like Proud of Your Boy (particularly its second act reprise) and A Million Miles Away show he also knows when to pull back and let the characters carry the scene, and with A Whole New World he manages to pull of both spectacular and intimate at the same time.

It took 19 years for Aladdin to make the transition from screen to stage and almost another 3 years for it to finally reach Broadway but if that's what was needed to bring this cast and creative team together then it was well worth the wait.  I had 3 years of built up expectations for this show, and seeing the Tuacahn's production only pushed those expectations higher, and I'm happy to say that it didn't disappoint.  Seeing the original cast on a Broadway stage was a dream come true for me and I hope that the show has the long and successful run that it deserves.  Aladdin is a visual and musical delight and above all it's just great fun and I couldn't wish for anything more than that.



Aladdin: Broadway's New Musical Comedy officially opened on Broadway on 20th March 2014 at The New Amsterdam Theatre.  Produced by Disney Theatrical Productions under the direction of Thomas Schumacher, based on the Disney film written by Ron Clements, John Musker, Ted Elliott and Terry Rossio and directed by John Musker and Ron Clements.

Starring Adam Jacobs, James Monroe Iglehart, Courtney Reed, Brian Gonzales, Brandon O'Neill, Jonathan Schwartz, Clifton Davis, Don Darryl Rivera and Jonathan Freeman as "Jafar"

Standbys Merwin Foard and Michael James Scott

The ensemble features Tia Altinay, Mike Cannon, Andrew Cao, Lauryn Ciardullo, Joshua Dela Cruz, Yurel Echezarreta, Daisy Hobbs, Donald Jones Jr., Adam Kaokept, Nikki Long, Stanley Martin, Brandt Martinez, Michael Mindlin, Rhea Patterson, Bobby Pestka, Khori Michelle Petinaud, Aleks Pevec, Ariel Reid, Jennifer Rias, Trent Saunders, Jaz Sealey, Dennis Stowe, Marisha Wallace and Bud Weber

Music by Alan Menken, Lyrics by Howard Ashman and Tim Rice, Book and Additional Lyrics by Chad Beguelin, Associate Producer Anne Quart, Technical Supervision by Geoffrey Quart/Hudson Theatrical Associates and David Benken, Production Supervisor Clifford Schwartz, Production Managers Myriah Bash and Eduardo Castro, Associate Director Scott Taylor, Associate Choreographer John MacInnis, Casting by Tara Rubin Casting and Eric Woodall, CSA, Dance Music Arrangements by Glen Kelly, Music Coordinator Howard Joines, Fight Direction by J. Allen Suddeth, Sound Design by Ken Travis, Hair Design by Josh Marquette, Makeup Design by Milagros Medina-Cerdeira, Illusion Design by Jim Steinmeyer, Costume Design by Gregg Barnes, Lighting Design by Natasha Katz, Scenic Design by Bob Crowley, Orchestrations by Danny Troob, Music Supervision, Incidental Music and Vocal Arrangements by Michael Kosarin, Directed and Choreographed by Casey Nicholaw

The premiere of Aladdin was produced by The 5th Avenue Theatre in Seattle, WA.  David Armstrong, Executive Producer & Artistic Director; Bernadine C. Griffin, Managing Director; Bill Berry; Producing Director.

Tickets are available from www.aladdinthemusical.com

Adam Jacobs as Aladdin, Photo by Deen Van Meer