Music by Alan Menken
Lyrics by Howard Ashman, Tim Rice & Chad Beguelin
Directed and Choreographed by Casey Nicholaw
Review by Annie Aslett
The touring production of Disney’s Aladdin is basically a panto with a blank chequebook. Although there are few dames (at least with speaking parts – more on this later), this show is the epitome of high-production, high-camp storytelling aimed at children. Based on the 1991 Disney film, Alan Menken has written a few more songs to go with the classics, and Aladdin, the full musical extravaganza, continues touring the country.
The show is an absolute feast for the senses – the production and costume design (led by Bob Crowley and Gregg Barnes) are second to none and make the show well worth a visit for this alone. The sumptuous sets are augmented by special effects (Jeremy Chernick), animated projections (Daniel Brodie) and even illusions (Jim Steinmeyer), meaning that this show is sure to blow even the technologically jaded minds of the smaller humans in the audience. Combined with flamboyant musical numbers under the direction of Casey Nicholaw, the production certainly lives up to Disney’s reputation for inspiring wonder.
The enormity of the production, with its innumerable moving parts, means that the show can feel a bit over-rehearsed at times. The nature of the beast means that if an actor misses a cue, the production thunders on without them, leading to a bit of acting-by-numbers from some of the cast, clearly preoccupied with not missing their character beats. Having to live up to iconic characters and the demands of the show means that there is little room for the performances to breathe, leaving some a bit soulless.
One performance with no lack of soul is Damien Winchester’s Genie; undoubtedly the best character in Aladdin, this show gives the Genie even more room to entertain. Winchester more than lives up to the role, bringing verve and much-needed wit to proceedings, not to mention fierce vocals. The iconic Friend Like Me number is almost worth the price of a ticket by itself.
Aladdin’s monkey sidekick, Abu, is replaced in this production by three human besties, Babkak, Omar and Kassim. Played joyfully by Nelson Bettencourt, Adam Taylor, and Nay-Nay, the comical camaraderie added by this trio is one of the highlights of the show and breathes new life into a very familiar story. However, with these additions, 7 out of 8 of the principal roles are played by men, which, once you notice it, is hard to ignore. Princess Jasmine is played brilliantly by powerhouse Desmonda Cathabel, but her character, whose Whole Thing™ is her desperation for the freedom to choose her own life, gets the short straw in this version. This production rolls back the progress made by the 2019 cinematic remake, in which Jasmine is made Sultan at the end. Here, Jasmine’s father decrees that Jasmine and Aladdin will rule together – does the kingdom of Agrabah not have the concept of First Husbands? For all Jasmine’s characterisation as a strong, independent woman, structurally her fate is determined by the actions of men. I get it, though; understandably, Disney has not rewritten the ending of Aladdin, and this plot weakness is perhaps beyond the remit of this production. However, for all the young girls in the audience, it would have been nice, at the very least, for the Disney Theatrical Group to have kept the 2019 movie’s ending and maybe consider not giving all of the fun new comedy parts to men. While I have you, Disney, the Genie should be a gender-blind part – no one will do it better than animated Robin Williams anyway.
If you have kids, especially if you’re worried their attention span can’t handle the theatre, this is the show to see. Disney has brought the kingdom of Agrabah roaring to life, and it is undeniably special to witness. This is a sit-back-and-enjoy-the-ride experience; trust me, don’t think about it too much; you’ll ruin it for yourself. While Disney are unmatched in most areas, there are some in which they could do better.
This Is The Show to See
Aladdin runs at The King’s Theatre, Glasgow, November 6th – 30th 2024
Running time – Two hours and thirty minutes with one interval. Suitable for ages 6+
Photo credit – Deen Van Meer
Review by Annie Aslett – contact@corrblimey.uk
Annie is a not-so-recent graduate of the University of Edinburgh with a degree in French and Spanish, along with a Masters in Translation from the University of Glasgow. A Spanish teacher for three years, she decided to leave the classroom behind to pursue personal goals and has since been regularly reviewing for Corr Blimey’s Glaswegian wing. Annie is a life-long lover of musical theatre, whose childhood performances included a rousing production of Snow White in The Hall and a heartfelt rendition of Go, Go, Go Joseph in The Living Room.
