Aladdin: Broadway's New Musical Comedy

Today, you guys are in for a real treat.  I debated whether or not to put this in STAR WARS MONTH, but since Disney owns both of these properties, I feel compelled to reveal my opinion regardin Broadway's newest hit.  Based off of the animated film of the same name, Aladdin is among one of the finer Broadway shows you will ever see.  I can honestly say I have never been as entertained going to see a show on Broadway than I was when I saw this marvel for the eyes.  And if any of you out there think that I am being incredibly biased towards this out of my love for everything and anything Aladdin, then please note that I went into this with little optimism outside of being excited to see Jonathan Freeman reprise his role as Jafar.  What I got was a show that has a very good chance at winning many Tony Awards next month.

PLOT: Once again set in the mythical kingdom of Agrabah, a group of thieves named Aladdin, Babkak, Omar, and Kassim run amok throughout the streets stealing and conning to survive.  One day, Aladdin comes across a beautiful woman in the market and attempts to woo her, most of his attempts failing.  But when Aladdin shows her the limitless potential they could have together, they begin to fall in love.  Aladdin is captured by the guards, who ridicule the girl, until she reveals herself to be the Princess Jasmine.

The guards are about to drag Aladdin away, but a mysterious hooded figure rescues him, claiming to be his uncle.  The man reveals himself to be Jafar, a sorcerer in search of a magic lamp that only Aladdin can get to.  He offers to help her win the Princess' heart, but plans to double cross him in the cave.  But the Cave of Wonders collapses before he can get the lamp to the sorcerer.  When examining the lamp, Aladdin unleashes the Genie, who prepares to grant him 3 wishes.  With this, Aladdin not only hopes to finally amount to something in his mother's eyes, but to win the heart of the Princess.  But he must beware of Jafar, who schemes to take the lamp away for himself.

What's Bad?: There were a few things that I was surprised that the show cut.  For instance, the climax occurs in about 5 minutes, without Jafar transforming into the giant snake.  There are other minor things like this, but they hardly detract from the show.  I thought that I would be distracted that the actor portraying Iago wasn't a parrot, but he was humorous enough to carry his scenes with Jafar.

The biggest flaw in the show is the distinct lack of dramatic scenes involving Jafar.  I thought Jonathan Freeman was going to carry the show on his back, but he wasn't in that many scenes.  I thought they would have added new scenes, like the musical numbers "Why Me?" and "Humiliate the Boy", where Jafar uses the Genie to humiliate Aladdin and win his way to power.  Then again, they keep the focus where it needs to be, on the three main leads: Aladdin, Jasmine, and of course the Genie.

What's Good?: I was afraid that the new songs were going to hinder the speed of the show, like The Little Mermaid's did.  The show added a few songs locked away in the Disney Vault.  "Proud of Your Boy" and "Babkak, Aladdin, Omar, Kassim" were added from the original treatment written by Howard Ashman prior to his tragic death.  And the new songs, particularly "A Million Miles Away", add to the story and are some of the best songs written for a Broadway show in a long time.  As for the old songs we know and love, they are still here and cannot leave your head as soon as you hear them.

But the single biggest reason to see this show is for James Monroe Iglehart's performance as the Genie.  I never expected anyone to be able to contend with Robin Williams for the role of the Genie, but Iglehart adds more to a character everyone once thought untouchable.  He is hilarious and steals the thunder away from Aladdin and Jasmine in almost every scene he's in.

I also loved how much the show would make fun of elements people would be mad that didn't make it into the show.  For instance, Abu was replaced with the three thieves mentioned above.  But in one scene in particular (I won't spoil it), they make fun of the fact that Abu isn't in the show.  Then, they have Jafar constantly referring to Iago in bird phrases ("What are you squwaking about?").

Jonathan Freeman is the only actor who comes close to stealing Iglehart's thunder.  Although Jafar is not in that many scenes, he is still one of the best Disney Baddies of all time for a reason.

The set design and choreography are absolutely legendary.  I don't think even Lion King had that much rapidly paced choreography.  The set design doesn't steal attention from the leads and often just sets the tone for the scene well.  The moody scenes are shaded in reds and purples, while the bright scenes are illuminated in blues and yellows.

Overall: While maybe not as potent as The Lion King or Wicked, Aladdin still manages to be the most entertaining two and a half hours you'll ever have in New York.  I highly reccomend this show to all of you out there.  This may be the first keeper Disney has had on Broadway since The Lion King.  Go see it, guys.  You won't regret it!

Final Grade: A++

https://www.youtube.com/watch?v=0HdwdptrmQQ