The live-action version of Aladdin holds a special place in my heart – it came at a time of transition and identity for me. And that’s the heart of the Disney version of the tale – to have the courage to embrace one’s true self, regardless of changes around. (The Arabian Nights version is substantially different, and so is the message.). To revisit the story, 5 years later, brought so many emotions and memories for me. (I watched Aladdin many times with different people back in 2019)
For me, the musical version felt familiar and fresh at the same time. But ultimately, it took what was best about the tale, and amplified it on stage.
Synopsis
Aladdin is a musical that is based on the 1992 Disney animated film of the same name. It revolves around a street urchin who comes across a magic lamp, containing a genie that will grant three wishes to him. But as intoxicating as this power may seem, the street rat learns that it’s inside – not what’s outside – that really counts.
Music: Alan Menken
Lyrics: Howard Ashman, Tim Rice, and Chad Beguelin
Cast:
- Adi Roy (Aladdin)
- Sonya Balsara (Jasmine)
- Marcus M. Martin (Genie)
- Dennis Stowe (Jafar)
- Don Darryl Rivera (Iago)
- JC Montgomery (Sultan)
- Michael Schimmele (Babkak)
- Nathan Levy (Omar)
- Colt Prattes (Kassim)
- David Wright Jr. (Shop Owner)
- Mark DiConzo (Razoul)
- Jamie Kasey Patterson (Henchman)
- Julio Rey (Henchman)
- Prince Abdullah (Jaz Sealey)
- Keisha Gilles (Attendant, Fortune Teller)
- April Holloway (Attendant)
- Sonia Monroy (Attendant)
Iago is the surprise standout of the show
Of course, it’s not possible to have a live parrot on a Broadway show playing a part (not right now, at least) (also, a parrot would be really tiny and you wouldn’t be able to see the facial expressions of said parrot) – so the part of Iago, who’s a parrot in the animated film, is played by Don Darryl Rivera. Imaging-wise, Iago is portrayed as a rather ball-shaped human – which is why his agile antics and quick movements are such a humorous contrast to his appearance. Iago is played for laughs, as he usually is, but Rivera doesn’t take himself seriously and dives wholeheartedly into the role, sprawling on the floor or genuflecting when he has to. He may not be a parrot in this musical, but he’s just as adorable and laugh-inducing as ever.
Beautiful costumes
The costumes are elaborate beyond measure in the musical, and it’s evident even from a distance. The highlights, the sequins, the colours – they’re absolutely gorgeous. What elevates the extravagance of the costumes is how they sparkle, especially under the stage lights. It’s not something that is easily captured on film, simply because the spontaneous nature of theatre means that the performers turn every which way, causing the glitter (or gems? I’m not a fashion person, so I’m not entirely sure) to sparkle in such eye-catching and memorable ways. Yes, I’m basically saying the costumes are sparkly and colourful. But they’re sparkly and colourful in such a beautiful way that they’re a defining part of the Aladdin musical.
Incredible set design
What are good costumes without equally splendid sets for actors to perform in front of? From the Cave of Wonders to the streets of Agrabah, the sets are a technical and visual marvel to behold. It’s the sheer number of sets and the astounding amount of detail that goes into each one that amazed me. There’s just so much going on in the background alone (look at the images to see what I mean) that the entire musical is a feast for the eyes. The cherry on top is that the sets complement the costumes – meaning both are equally magnificent in their own way.
Adi Roy’s Aladdin is rather charming
Adi Roy’s Aladdin is rather endearing – more so than than other depictions I’ve seen. Perhaps because he’s not as crazy smiley as some other versions, neither does he come across as intimidating if he doesn’t smile (ie, no RBF). I mean, all Aladdins should also have this quality, but I find his portrayal to be the most charming one I’ve seen so far. So when Jasmine falls in love with him, it’s that much more believable – and feels that much more organic.
Climax could be stronger
It’s hard to do a new interpretation of Aladdin‘s climax – after all, the title character’s clever manipulation of the villain is a well-known twist in the plot. There are some differences, namely in how Jafar (Dennis Stowe) uses his wishes, but it remains mainly the same. There’s some spectacular stage work to be seen in the granting of Jafar’s wishes. But the confrontation is lacking – Jafar is defeated far too quickly, and without the flash and pomp that has accompanied every other scene. It’s not bad, but it doesn’t compare to the other scenes.
Should you watch it?
If you ever have a chance to watch the stage version of Aladdin, catch it! Tickets might be pricey (but what isn’t, in this climate?) but it’s well worth the price for the production values. I daresay it rekindled my love for Aladdin (a whole other story for a whole other time) and I bought two lamps because I felt so energised by the musical. It’s a visual and auditory extravaganza, and I understand why people can watch it several times in a row.
Score: 8.5/10
This review is based on the 24 September, 2024 show.
Aladdin is currently running on Broadway.
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