Adi Roy in the North American Tour of “Aladdin”, Photo by Deen Van Meer
Of Disney’s Renaissance era animated features, Aladdin isn’t a favourite of mine. (And my feelings about Robin Williams’ portrayal of the Genie are sure to be contentious: I find his schtick distracting and unfunny.) Bursting with Broadway razzle-dazzle and some truly persuasive stage magic, this theatrical staging of Aladdin—in a North American Tour presented by Mirvish—though not exceptional, is, for me, a more consistently compelling experience.
The overall story plays out much like the film. In the fictional Arabian dessert city of Agrabah, a street youth named Aladdin (Adi Roy) befriends the angsty princess Jasmine (Senzel Ahmady), on the run in protest of an enforced marriage and disguised as a common villager. Our villain, the sultan’s devious advisor Jafar (Anand Nagraj), seeks power and sends Aladdin into the Cave of Wonders to fetch the iconic lamp. Out of this lamp pops a Genie (Marcus M. Martin), who befriends Aladdin and grants him wishes. Disguised as a prince (his first of three wishes), Aladdin woos Jasmine. Romance, adventure, and antics ensue, culminating in a final showdown.
As our central couple seeking to defy expectations, to transcend oppressive societal norms, Roy and Ahmady are sufficiently endearing. This stage version gives them back their proper I Want songs which were cut from the original film: Jasmine’s “These Palace Walls” and, more stirring, Aladdin’s “Proud of Your Boy,” in which he yearns to be worthy of his parents’ affection.
It is the supporting players, though, that really shine here with some nudge-nudge-wink-wink shenanigans that give off strong pantomime vibes. Part huckster comedian, part circus barker, Martin’s Genie is a manic and flamboyant centrepiece. In the first act finale, “Friend Like Me,” he and an eight-man ensemble—sporting a series of flashy outfits and wacky props—deliver an over-the-top tap dance and jazz hands extravaganza that just… keeps… getting… bigger!
Nagraj’s Jafar and his (no longer a parrot) sidekick, Iago (Aaron Choi) have a familiar panto dynamic with their deliciously arch scheming and bickering. Choi specifically has some very cringy puns that he sells with such unapologetic abandon, I couldn’t help but giggle at his relentless interjections.
Aladdin’s thief-mate monkey Abu is replaced here by trio of street urchin buddies—Kassim (Brandon Burks), Omar (Kyle Caress) and Babkak (J. Andrew Speas) who all have a bumbling, good-natured charm. All three performers at opening were standbys with an amply charming camaraderie. I particularly enjoyed their coming to the rescue number, “High Adventure.”
Though I wasn’t as emotionally invested as I hoped to be, I was none-the-less enchanted by all the razzmatazz. Like the film, the mise en scène is a garish pastiche of Middle Eastern myth and contemporary pop culture references fused into cartoon spectacle. Bob Crowley’s scenic design and Gregg Barnes’ costumes serve up a colourful array of fanciful delights. Forced perspective set pieces are seamlessly blended with Daniel Brodie’s atmospheric projections and Jeremy Chernic’s special effects.
Director and choreographer Casey Nicholaw’s production not only fills the massive Princess of Wales Theatre stage, it boasts some genuinely thrilling illusions. Everything sparkles, costumes fly on and off within awe-inducing simulated environments that feel truly expansive. The “A Whole New World” magic carpet ride really wowed me. With the whole stage a twinkling star-scape, the sequence is exhilarating. Despite my intense scrutiny, I couldn’t figure out how they did it. (I looked it up online later, of course, though I wouldn’t recommend spoiling it for yourself ahead of time.)
The story is passable enough, though not particularly great musical theatre (there are better Alan Menken–Howard Ashman collaborations); as a family viewing event, it’s suitably fun and magical. I imagine children will really dig it. Disney knows how to put on a show and Aladdin has that reliably manufactured, trademark panache.
Aladdin
running February 15 to March 17, 2024
Princess of Wales Theatre (300 King Street West)
running time: 2 hours, 30 minutes (includes intermission)
Marcus M Martin and Company in North American Tour of “Aladdin”, Photo Deen van Meer