We review the blockbuster Disney musical ‘Aladdin’ in San Francisco.
Disney musical hindered by thin score and story
Disney really put the magic touches on the eyepopping “The Lion King” but it can’t quite recapture that enchantment in the far less mesmerizing “Aladdin.”
Make no mistake, this is a visually ravishing feast of swirling silks, shining sequins and high-f lying knife-eaters, choreographed within an inch of its life by Casey Nicholaw (“The Book of Mormon”) who also directs. But it’s hard to lure the genie from the bottle with this cookie- cutter fable and its formulaic plot — based on the hit animated film — an amiable but forgettable score and generic performances.
Bob Crowley’s richly adorned set design, from the sun- drenched marketplace to the bedazzling cave of wonders, often upstages the performers, including the fresh-faced Bay Area native Adam Jacobs in the title role. The actor, who originated the role on Broadway, makes a suitably dashing Aladdin (his BFFs call him Ali), the bare-chested street urchin destined for greatness, and Isabelle McCalla makes the pampered Princess Jasmine appropriately sweet and sassy. But despite the genuine charisma between these two actors, the unfolding of their romance feels a bit pat. If this critic had threewishes, onewould be that they’d paid as much attention to detail with the characters ( book by Chad Beguelin) as with the sets and costumes.
Together these crazy kids battle the plans of the dastardly Jafar (JonathanWeir, coming across as a snide sort of Uncle Scar in human form), match wits with supernatural forces and ride themagic carpet to a happy ending. And it’s a nicely orchestrated rug ride amid a star-filled night sky at that. Along the way there’s a Vegas headliner- style Genie (the shamelessly hammyAnthony Murphy), a desperate to suck up minion named Iago (Reggie De Leon) and a treasure chest full of gorgeous harem haute couture (designed by Gregg Barnes).
It also adds sparkle that the cast seems to be having a ball, vamping it up from camp to tap dance by way of jazz hands and uncorking goofy punswith an easybreezy air. The exuberant choreography simply will not quit. Oh, and did we mention the streamers that come shooting off the stage into the audience? Thismusical works overtime to dazzle the eye.
Alas, there’s very little here to engage themind. Of course, that wasn’t an issue for the little boy across the aisle from me who practically levitated out of his seat with glee on opening night.
As in “Something Rotten!” Nicholaw has a knack for in-jokes that wink and nod to everything from “Beauty and the Beast” to “The Price Is Right.” These kitschy asides keep spirits bright through some saggy patches, including the endless entourage antics, the cliche evil villain sequences and an unnecessary detour into “Dancing with the Scimitar.”
And yet, the first act stretches on too long, given the thinness of the score (music by AlanMenken, lyrics byHoward Ashman, Tim Rice and Beguelin). Only “A Whole New World” is at all memorable. When you hear nods to “Beauty” it reminds you how much catchier those tunes were.
It may be bad form to expect depth froma fairy tale, but a little more texture in the score and the book might have made “Aladdin” glow on the inside as well as the outside.