Aladdin brings a whole new world
Showy musical production oozes with class and style
Of all of the classic animations in Disney’s vault, Aladdin, on paper, seems like an odd choice to be remade into a stage musical. Sure, the 1992 movie was a box office success but how can all that animated movie magic — the shape-shifting genie, the flying carpet, those life-altering wishes — possibly be translated to the stage?
Yet when the curtain rose on opening night at Auckland’s Civic Theatre, it becomes clear that one should never doubt the House of Mouse. The Kingdom of Agrabah leaps to life thanks to a dazzling beast of a set, stacked with detailed costumes and stunning song and dance numbers showing Disney has given this its all.
The flamboyant production is oozing with class and style.
After the tone-defining set piece of Arabian Nights, the familiar story begins with a Broadway twist. Aladdin is still a sneaky street scamp but the emotional stakes have been raised. Proud of Your Boy ,a brilliant new addition to the show’s songbook, gives Aladdin the character-defining power ballad all musical heroes need. He feels like a wholly new character, thanks in part to Kiwi Graeme Isaako, who injects mischievous innocence into the role.
The whole cast embraces the challenge of this musical. Adam Murphy is malevolent perfection as the scheming Jafar while Shubshri Kandiah encapsulates Jasmine’s fiery disposition. But Bob Crowley’s dazzling set risks stealing the show. From shape-shifting buildings to towers of gold, so much is always happening in the background that you are left dizzied but mesmerised.
You can’t talk about Aladdin without discussing the Genie. Gareth Jones has the dubious honour of reinventing Robin Williams’ iconic role but excels with a camp reimagining that commands every scene he’s
in. His skills are best displayed during Friend Like Me, a showstopping showcase for all Aladdin does right: Catchy music, playful lyrics, dancing that’s exhausting just to watch. Jones and the talented ensemble more than earned a rare mid-show standing ovation. If only the show ended there.
Friend Like Me is a noteperfect number that raises the bar, but the show doesn’t reach those heights again. Instead, after a bit of theatrical wizardry in A Whole New
World, the songs are unremarkable and the plot unimportant. The climax, unable to recreate the movie’s grand imagery, feels rushed and underwhelming, the writers clearly scrambling to reach the happy ending.
The precedence of the song and dance over story risks creating a product that is all shimmer and no substance. Yet Aladdin’s legacy survives thanks to the brilliance of the first act. Even though the lows may dull the experience, you’ll still leave with a grin on your face and a sparkle in your step.