11/24/2023 0 Comments Jasmin from aladinThe 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.Īaron Choi is a ball of energy and evilness as Iago. Jafar’s sidekick Iago-a parrot in the film-is now a human and Aladdin’s best friend, the monkey Abu, has been replaced by three young men-Babkak, Omar, and Kassim. Two notable character adjustments have been made from the film. Anand Nagraj is delightfully wicked as Jafar, nailing the villainous inflection in his every word and suspicious eyebrow raise. He pulls out all the stops in “Friend Like Me”, including joining along in the tap-dance sequence. Martin is a larger-than-life standout as the Genie-a nonstop powerhouse of energy and charisma. The romance between Roy and Ahmady is sweet to watch, and “A Whole New World” is a beautiful intimate moment for them. Throughout, she captures Jasmine’s headstrong attitude and sensitivity, without overacting. “These Palace Walls” is a solo for Jasmine, sung wonderfully here by Senzel Ahmady. Likewise, the stage show also introduces new songs. And it’s great that they’re back: they provide more back stories and character motivations. 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.Īs 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. The latter number is a homage to Busby Berkeley and 42nd Street on opening night, the audience showed their appreciation with a thunderous ovation. 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. Nicholaw, whose credits include directing and choreographing The Book of Mormon, has given Aladdin a Broadway makeover, with large-scale dance numbers throughout. 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. 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. Throughout, the message of staying true to one’s personal integrity shines through.įrom the commanding start of the orchestra playing “Arabian Nights”, this production captivates from start to finish. We’re led by the charismatic Genie from the lamp, in a tale involving a magic carpet, mistaken identity, and grand adventure. 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. 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. 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. 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.
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