Lamptastic
Aladdin may be a ‘panto with pretensions’ but its spellbinding Genie is utterly…
Aladdin BordGáisTheatre Until April 14: HHHHH
My only memory of the 1992 Disney animated movie that inspired this musical is the overwhelming Robin Williams’ voiceover performance as the genie, that practically obliterated everything else on screen.
This production, without the advantage of animation, has all that liveliness, a magnificent live genie and exhausting performances from the highly talented (and overworked) dancers.
The Arabian Nights story of Aladdin is simple. Street-wise hard-up thief Aladdin is tricked by a wicked vizier into getting the magic lamp from a cave. He releases the genie from the lamp, outwits the villain and gets to marry the sultan’s daughter.
Despite the simple story, non-stop activity sometimes takes over the show, beginning with the opening Arabian Nights routine – it’s invigorating, sets a sparkling mood but just takes too long to get things moving. Dance routines are regularly elongated to stretch the material, but the Alan Menken score keeps things boisterously animated.
It’s a visually impressive show, especially the cave scene, a spectacular piece of designer freewheeling where the magic lamp is found in the midst of glitter, gold and a spooky atmosphere.
And there’s no doubt about the performance of Yeukayi Ushe as Genie – locked up for 10,000 years in a lamp and determined to make up for lost time now he’s on the loose. It’s a devilishly demanding, exhilarating performance that almost leaves the other characters surplus to requirements. He jokes, dances, does some cartwheeling, makes it all look ridiculously easy, and delivers a smashing treatment of Friend Like Me with the ensemble.
The Aladdin/Princess Jasmine love affair is threatened by royal protocol but when there’s a genie around there’s never a major problem. When Aladdin ends up in prison you know he won’t be there for long. Jasmine (Desmonda
Cathabel) looks great, is a fine singer and is given a robust feminist role: she refuses to be sold off as wife to the lascivious vizier, played by a nicely villainous Adam Strong, a melodramatic schemer, accompanied by his grovelling comic sidekick Iago, who has to work hard to rustle up laughs.
It’s hard for Gavin Adams to make much of Aladdin, whose character doesn’t quite fit his status as a Diamond In The Rough, the song that celebrates his prowess. The most
satisfying and concise scene has Aladdin and Jasmine singing A Whole New World as they whirl in space on the magic carpet that seems to defy gravity with no obvious strings attached, serving up an atmosphere of real magic.
The show ticks all the boxes you’d expect in modern productions: expansive choreography and scenery, a long list of designers, arrangers and various lyricists, including the late Howard Ashman contributing to the Alan Menken score, all dishing up a superior job of presentation, especially Jim Steinmeyer’s magic carpet wizardry. Aladdin’s three imported buddies keep up the chirpiness with Genie and Aladdin, including the raucous Somebody’s Got Your Back.
As a show, it’s not in the same league as the great musicals: it’s pantomime with pretensions but nevertheless, it’s delivered with a punchy pizzazz that makes up for its shortcomings.