REVIEW: Aladdin impresses at Pantages
Aladdin is the hallmark of cliché love stories, a rags-to-riches folktale of a poor suitor seeking to win a princess’ heart.
Jasmine and Aladdin are played by Isabelle McCalla and Adam Jacobs, respectively, both of whom wowed fans with their impressive performances and electricifying chemistry on stage. Photo courtesy of Deen van Meer.
Yet, with physics-defying flying carpets, desert caves dripping with gold and magical lamps, the story of Aladdin (Adam Jacobs), a street urchin whose life is magically transformed in an instant, becomes a bewitching experience complete with sing-along music, courtesy of Disney.
Now as a musical production at the Hollywood Pantages Theatre, Aladdin enchants and transports audiences to the magical land of Agrabah, as soon as the larger-than-life Genie (Michael James Scott) breaks the fourth wall to address the audience: “You’ve never been [to Agrabah]? Well, we can fix that!”
The orchestra crescendos and Genie launches into the familiar melody of “Arabian Nights,” accompanied by a diverse cast in dazzling costumes as well as sparkling set productions that breathe life into the stage. Agrabah, and likewise the Aladdin production, have “more glitz and glamour than any fictional city in the world,” as promised by Genie.
The sets, created by set designer Bob Crowley, move seamlessly in and out of the audience’s vision, forming the breathtaking backdrop for Aladdin’s journey. From the crowded town marketplace where Aladdin makes his first escapade in “One Jump Ahead” to the shimmering Cave of Wonders with its foreboding green eyes, the stage design delivers Disney’s fairytale vision to life on the stage.
As Aladdin enters the Cave of Wonders at the bidding of the villainous Jafar (Jonathan Weir) and his parrot-turned-human sidekick Iago (Reggie de Leon), golden icicles, smoke and bejeweled towers slide into view to serve as the decadent backdrop to Genie’s “Friend Like Me” performance.
Genie appears with dramatic flair and a hint of smoke, and his booming personality lights up the stage for the rest of the show, as he enthuses the audience with sass and light-hearted humor. With every “Can your friends do this?” uttered by Genie, dancers emerge to create a spectacle that reveals the extent of his magical talents. Red-suited waiters prop up full dishes of food, glitzy showgirls materialize from stationary props and a cymbal-crashing finale with golden baton-twirling tap dancers lead to a roaring ovation in the theatre.
Despite all the glamour, composer Alan Menken’s familiar score is what sets the tone of the musical as it did for the film, pacing each revelation and character interaction. New musical numbers were specifically composed by Menken to provide depth into characters’ internal commentary.
Aladdin performs a wistful solo in “Proud of Your Boy” after his marketplace shenanigans, revealing a deeper introspection beyond his mischievous facade to become a man his deceased mother and father would be proud of.
Meanwhile, Jasmine (Isabelle McCalla) confides her feminist desires to escape to the outside world in “These Palace Walls” to her royal staff of women, who have replaced Rajah the tiger from the animated film.
Aladdin’s original monkey sidekick, Abu, has also been switched out for a band of three mischievous “blood brothers” who aid Aladdin in his endeavors. Babkak, Omar and Kassim served as comedic entertainment and often as extras to Aladdin’s venture; however, their bravery was highlighted in an act of brotherhood leading to their ultimate capture by palace guards.
The two-hour musical, although longer than the film, entertains and visually draws the audience into the tale. However, it barely scratches the surface of Jasmine and Aladdin’s romance, the tricky defeat of Jafar or Genie’s affinity for Aladdin (who he fondly refers to as Al).
Still, the love for a happily-ever-after ending overcomes these plot-related questions for audiences seeking to enjoy the show. So, when Aladdin and Jasmine soar up across a twinkling night sky on a magic carpet singing a gentle rendition of “A Whole New World,” their joy and satisfaction is emulated by the audience in this visually stunning scene.
“Hold your breath, it gets better,” Aladdin sings, and truly, the family-friendly production presents the audience with a hundred thousand things to see, while ending on a fulfilling, triumphant note for love.