who wouldn’t want to go from rags to riches overnight with the help from Genie? Everyone would. It is human.
However, the original story is darker. But this is Disney: the world of magic, wishes, happiness, joy, and where dreams do come true. Fortunately, both stories do provide a moral, or at least a few, about the cost of dreams and what anyone can accomplish with taking chances (risky preferable), having semi-reliable friends, keeping a head on shoulders, and living life through dance and song. Therefore, Aladdin fits into Disney world perfectly.
The theater employees wore traditional usher or bellboys/girls’ uniforms. The elevator
had an attendant (felt weird that someone else is pressing a button) who was very knowledgeable about the theater and the production and its cast. The vestibules were adorned with old-fashioned chandeliers, paintings, and what looked-like the wallpapers. Overall, New Amsterdam Theater is an old-fashioned European-style theater: homey and intimate. While watching the performance, I felt the connection with actors, their performances, wardrobe, set designs, and, certainly, that elusive magic that Disney tries to capture and actors, and the rest of production team, try to convey to make people believe that they are part of the story just like when reading a book. The only annoying part of the theater was a long and bulky box that spread from one side of the theater to the other. I guess it was important for special effects but took away the beauty of the theater.
I sat on a Balcony, Row D. The view was great and comfortable. I saw every actors’ detail and especially their performances up close, unlike other Broadway theaters where I would sit and see the movement on the stage but not the performances. (After all, performances should be more intimate and not feel like you are at a football stadium.)
The performance began with an Introduction of the story by “the hardest working Genie in show business”, James Monroe Iglehart. He introduced us to the locale, people, and the story’s characters. And, then, he vanished for the next 20 minutes until he was awakened by Aladdin. But I won’t bore you with the details of the show. I would recommend though finding the courage and spending money to see Aladdin. I won’t lie. The show is expensive but so worth it. So, what was wonderful about Aladdin?
In short answer: It was marvelous, elegant, colorful, entertaining, and magical. But, here is longer answer.
First, the set decorations were brilliant. There weren’t too many of them, and they were not upstaging the actors. There was the town’s bazaar, the roofs over which Aladdin was escaping from security guards, the palace, or the scary cave. The necessary dimensions were drawn up in the background. Decorations were there to tell the story as characters would see them in real life. As such, decorations were characters of this play too. In the end, the minimal amount of decorations allowed the audience to put the rest of the missing details themselves. After all, a good storyteller never provides too descriptive a detail so as not to bore a viewer
but colorful in spirit. They were not downtrodden creatures of The Miserable. As a result, the colors of the show allowed audience not to be bored or too sleepy when the actors’ performances (either thru a dialogue or dancing) became monotonous. They truly were the spirit of the show. By the way, the muted colors were present, but those colors were left for Jafar, for obvious reasons. And even then those colors were not dull. Last, but not least, the Sultan’s and his daughter’s clothes were adorned with Swarovski diamonds to show the privileged and wealthy status. I found it an expensive though nice touch to wardrobe.
The dances were numerous and energetic by the lead actors and the ensemble. Unfortunately, at times, I found that dances were a bit dragged out and could’ve been shortened. Moreover, I noticed (not that I was looking for it) that one dance number (dancing with swords, but not the fighting in the palace) performed by ensemble was a bit out of tune. A couple of dancers almost lost the synchronicity of the number; they were slower than the other dancers. It didn’t ruin the performance. However, to show the power of dancing, togetherness is essential.
Last, but not least, are lead actors themselves. Overall, the actors were brilliant. They were entertaining, visual, clear in their choices, and motivations, goals, and energy were balanced out throughout the play.
The best of the bunch was James Monroe Iglehart. He was the Genie and the entertainer of the show. Without him, there wouldn’t be a story worth watching. He was joyful on stage. He was a kid in a candy store. And, thankfully, he allowed the audience to experience his beauty of being a wordsmith and singer,
dancer and acrobat, entertainer, and a friend. His entrance was spectacular, and I couldn’t wait for his re-appearance. He would pull a rabbit out of his hat and give a scene even more life. He has become the Broadway’s most surprising, talented, and joyful actor that I’ve seen in a while.
Another entertaining performance was done by Don Darryl Rivera (Iago) as Jafar’s sidekick. He was a punch-line to Jafar’s jokes. I did wonder who would play Jafar’s right-hand man. However, Mr. Rivera’s performance was on point, exciting, and excruciatingly funny. And speaking of Jafar and Iago, I’d mention that Jonathan Freeman’s “Jafar” was even better than when he voiced the same character in the cartoon version.
After all, Genie wasn’t going under the stage; he went into the lamp. But, overall, his performance was solid. At times, I felt sorry for him. At other times, I felt sorry for his victims. And he was comedic at places where he should be. In short, he was the Aladdin that we expect.
On the other side of the coin, Courtney Reed (Jasmine) was a terrific Jasmine. Her performance was full of female strength and charm that ‘bullied’ her father, was Princess Turandot to many princes, but also vulnerable and too dreamy and not practical. In addition, Jacobs and Reed were of great chemistry and their relationship developed organically and truthfully. In fact, all of the actors were connected to each other and their chemistry worked beautifully. Of course, it helps to be
performing together for a long time, but the chemistry is a fickle aspect for actors to achieve and to continue performance after performance is remarkable.
Therefore, I would recommend seeing this show (http://www.broadwaybox.com/shows/aladdin/). And if this show will still be at the New Amsterdam Theater for the next five years with mostly the same cast, I would go and see it again.
