Disney conjures a stage of wonders with ‘Aladdin’ tour

Pittsburgh Post-Gazette

The Genie is out of the bottle. “Disney’s Aladdin” is a shining, shimmering musical spectacle and a worthy complement to the 1992 animatedhit film.

With so much wonder to behold, I have decided to forgive the stage adaptation’s omission of Abu, Aladdin’s lovable, loyal monkey. Also MIA is the tiger, Raja. And Iago has molted into human form, more LeFou than fiendish sidekick, but still a kick nonetheless.

So much for what Aladdin isn’t.Here’s what it is: a musical extravaganza, with a golddipped Cave of Wonders and literal fireworks. And if you come for the romantic adventures of Aladdin and Princess Jasmine, Clinton Greenspan and Lissa deGuzman are the charming pair at the center of a dreamy sequence that’s “A Whole New World” of Disneymagic.

As for that Genie, so memorably voiced on screen by the late Robin Williams, the big blue guy is a powerhouse of boundless energy in the form of Morgantown, W.Va., native Trevor Dion Nicholas, baubles? More swinging of recently returned to the scimitars? More princess States after playing the role power? More poor boy makes inLondon. good? More Genie on overdrive?

It’s the Genie who welcomes us to the fictional city Don’t worry. More is coming. of Agrabah — and in one of many very meta moments, No small tip of the fez he acknowledges that he’s (sorry, it’s contagious) goes to also in Pittsburgh. After an BobCrowley, the set designer opening full of pageantry, who bestowed Tony-winning Mr. Nicholas teases that he, beauty upon “An American the Genie, will be absent for a in Paris.” Those set pieces while. So when he makes his were mostly danced on stage, auspicious return with a while these nimble structures “Did you miss me?” the applause come at you from allsays, “Of course.” sides and even give Aladdin

Amid this retelling of the rooftops to navigate. For Arabian folktale about a boy more stage magic and a nod who is granted three wishes to the movie version, watch by an all-powerful genie, the for a few split-second costume Middle Eastern cliches are changes right before piled on thick. Are we supposed youreyes. to laugh at every mention It may seem apples and of “hummus,” “tabouli” oranges to compare a live or “falafel”? Or “Every Tom, show to an animated film, Dick and Hassim?” But then, but Disney Theatricals has this production originated made that a must, with the with director-choreographer translation of “The Lion Casey Nicholaw — “The King” and “Beauty and the Book of Mormon,”Beast” to the stage. Not every “Spamalot” and “Something one of its transfers has Rotten!” A heaping plate of been as successful, but extravagance, with a side “Aladdin,” still on Broadway, helping of excess (and at least is in the top tier. onetap number) is his thing. That is due in no small

See what you like, and you part to popular songs by the want more? More glittery team of Alan Menken and the late great lyricist Howard Ashman and Tim Rice. If you are a parent with a child of a certain age, you probably know some of the songs by heart. A pop version of “A Whole New World,” sung by Peabo Bryson and Regina Belle, hit No. 1 on the U.S. Billboard Hot 100 chart in Marchof 1993.

There are a few tunes in the stage version, with the best Aladdin’s touching “Proud of Your Boy.” The songs are interpreted with fine vocals by Mr. Greenspan as Aladdin and Ms. deGuzman as Jasmine. Their characters come alive with emotional resonance and splendid dancing that often leaves Mr. Greenspan glistening withperspiration.

The sweat here is wellearned. Mr. Nicholas’ Genie powers through the speedsinging required for “Friend Like Me.,” It can leave you breathless just watching him in action — you wonder how he manages a big finish after all that comes before.

The Genie is released from his lamp by Aladdin, a poor orphan with three friends (in place of Abu). Kassim (Jed Feder), Babkak (Zach Bencal) and Omar (Philippe Arroyo, a Carnegie Mellon alumnus) are Aladdin’s partners in petty crime, until he falls for the runaway Princess Jasmine in a stirring marketplace scene.

Enter the evil Jafar (Jonathan Weir), who needs Aladdin to retrieve the magic lamp. Jafar’s plan is to unleash the Genie and wrest Agrabah from Jasmine’s father, the Sultan (Jerald Vincent). Thinking he will be paid by Jafar so he may win the princess, Aladdin agrees to go into the Cave of Wonders, hidden beneath the desert sands, and from there, the great adventure takes flight.

As Jafar, Mr. Weir has a voice that cackles within an inch of Jonathan Freeman’s — Jafar on Broadway and in the animated film. The scheming vizier is less menacing and more comic here, but still earns the villain’s boos.

If subtlety in musical theater is your thing, well, there’s little of that to be found here. But if you crave family fare packed with time-tested music, breathtaking action and visual splendor, a stage of wonders awaits in “Disney’s Aladdin.”