Disney's Aladdin – Musically Spectacular?

[Continued from previous page.]

Article and all photos by Sue Kruse

[Spoiler warning: This detailed review of Disney's Aladdin – A Musical Spectacular contains information about the show's plot, characters, and some special effects.]

The Genie pulls out all the stops while Aladdin looks on. Photo by Sue Kruse.

Borrowing from the stage version of The Lion King yet again (and with slightly less dramatic flair), the orchestra section of the theater soon fills with Prince Ali’s processional. While some members of the ensemble fill the stage, having nothing more interesting to do than stand and wave ribbons about, Ali rides through the aisles of the theater on the back of a gigantic elephant, slowly making his way to the stage.

Aladdin rides on an elephant through the theater. Photo by Sue Kruse.

The staging of this scene is best seen from the orchestra section, as those seated far back in the upper reaches of the theater will have to crane their necks to see anything at all. But despite that, the costumes here are very pretty and the elephant is a nifty touch – one that has been a definite audience favorite, never failing to please every time I’ve seen the show.

Well, while it pleases almost everyone, Jasmine is unimpressed. It doesn’t take her long to denounce Prince Ali and leave the stage in another pouty huff. As everyone else exits, poor Genie—ever the host with the most—asks, “Wait, where ya goin’?” He tempts them to stay with, “There’s going to be sandwiches.”

So far we’ve had lots of action and special effects, and a few plot holes. Now it’s time to completely stop the action of the show with Jasmine’s new number, “To Be Free.” The song is about Jasmine’s longing to be free, but as it’s staged here, I have to ask, “free from what?” In the show, she doesn’t seem to be caged up. She doesn’t seem to even have it all that bad, so what does she want to escape from? I guess it’s the fact that she sings this number in her room – a room that doesn’t have so much as a stick of furniture in it; not even a throw pillow, poor thing. All she’s got is a bird cage. I guess she wants to escape to Ikea or something – lord knows she could use a couch or two.

Another glitzy showstopper on the way...

While Jasmine is busy singing (and sounding a whole lot like she stole Belle’s song “Home” from the musical version of Beauty and the Beast), Aladdin and the magic carpet are hovering on the other side of the balustrade of Jasmine’s room. As Jasmine finishes her song, Aladdin makes his presence known, she balks a bit, relents, then takes off on that famous magic carpet ride with Aladdin. This scene probably cost a lot of money to stage. It’s beautiful from the front rows of the mezzanine. It doesn’t look like much from the orchestra. I haven’t been brave enough to climb that high to see it from the balcony.

Aladdin and Jasmine on their magic carpet ride. Photo by Sue Kruse.

What’s so pretty here is that the entire top of the front of the theater becomes a starry sky with the magic carpet floating down from the ceiling. It has big ooh and ahh factors, and it's a real shame that it's not viewable from every seat in the theater. The first time I saw the show, I sat in the orchestra about 10 rows from the stage. Logically, one would think that was a pretty prime seat to view the show. I could see the bottom of the carpet if I craned my neck and looked directly overhead, but I couldn’t see the pretty stars that light up while the carpet soars. I didn’t even know they were there until I saw the show again from the front of the mezzanine, which I think is the optimum place to see this show.

As it was with the wires when Genie first appears, this effect is a don’t-show-how-you-do-it factor for me. There needs to be a little sleight of hand here, and we don’t get that. Misdirect my attention so I don’t notice that big thing up near the roof and say, “Hey look! There’s a magic carpet up there.” The fact that the Aladdin and Jasmine doubles riding the magic carpet do not resemble the principle Aladdin and Jasmine is a bit of a hindrance to believability too. The carpet flies so close to the audience that it’s painfully obvious they are not the same people.

As Aladdin and Jasmine glide around, those who can’t see the effect do have something to look at, however. On stage, there is a continuing parade of world landmarks to let the audience know just how far that carpet ride is taking the pair of lovers. Ensemble members costumed as the Pyramids, the Parthenon, and the Eiffel Tower parade across the cloud-laden stage. I thought the choice of the Eiffel Tower was a little anachronistic. Correct me if I’m wrong Dear Readers (and I’m sure you will), but the Eiffel Tower was built in 1889 and I’m pretty sure this story takes place in an earlier time frame.

The magical magic carpet ride. Note the Eiffel Tower on the left. Photo by Sue Kruse.

The story moves along quickly from here. Jafar gets the lamp, and Genie has to give him three wishes. Jafar exposes Prince Ali as the imposter he is. It’s kind of like the Superman thing. As long as Clark Kent has his glasses on, no one spots him for Superman. Jafar announces that Ali’s the street rat Aladdin, he takes off his turban and... gasp! Exposure.

Evil Jafar strikes an imposing pose. Photo by Sue Kruse.

Jafar spends one of his wishes and Genie turns him into the Sultan. When it comes to glitz, no expense is spared here. Genie basically says, “Poof, you’re the Sultan,” and it's done. The last of the big-budget glitz appears as Jafar then turns into a snake. The show’s script, however, is so muddled that it’s really not made clear why there’s suddenly a large snake on stage.

Aladdin prepares to strike a blow to the Jafar-snake. Photo by Sue Kruse.

Aladdin is clever lad. He deals with this snakelike Jafar by tricking him into wishing for something a little more substantial, namely to become a genie and that genie gets trapped in a lamp, thus saving all from the evil villain. Oh yeah, and Aladdin also gets the girl. She stops pouting long enough to tell Aladdin he’s true of heart and noble of spirit. They get married, and Genie is set free and takes off with that cute little magic carpet, and the good citizens of Agrabah form a synchronized flag drill team to celebrate. It all ends well.

If you’ve stayed with me to this point, I think you can tell by my comments that I think it’s a pretty poorly staged show, at least in terms of Broadway entertainment. Really, the only two things I can say that I absolutely love are the magic carpet and the falling rocks in the Cave of Wonders.

I don’t understand many of the choices the creative team made with the show. The multiethnic cast makes no sense unless Disney is trying to appear politically correct. Jasmine is clearly Asian, her father is Black, and so on. I think the casting of a Black Jafar is also an interesting choice considering the classic stereotype of the black man as bad guy. Oh, and I haven't even mentioned Iago.

The Sultan and Jasmine highlight the multiethnic cast. Photo by Sue Kruse.

Iago is a puppet that appears to be so poorly designed it forces the actor operating the puppet to hold it in front of his face and wave it about. It gives new meaning to the old joke, "I just flew in and boy are my arms tired." Really, it must make the poor actor's arms ache to hold that thing up in front of his face for 40 minutes. Iago never really adds anything to the story, and is simply never believable as a character because he always looks like a guy holding a puppet in front of his face.

The Genie prepares to duke it out with Iago. Photo by Sue Kruse.

All that said, I can still also state that I like the theme park show. I can turn off my theater-goer brain and just enjoy the mindless fun and eye candy. There's really nothing like it in any other theme park. The audiences I have shared the theater with have roared with their approval, each time giving it a standing ovation. Kids can be enchanted by genies, flying carpets, and magic lamps – and parents can, too.

It's terrific that Disney is trying something new and it's a great addition to the Hollywood section of Disney's California Adventure. I hope that the show will get a bit of fine-tuning. The theater-goer in me will love the show then, too. I hope so – it's got great potential.

# # #

[Return to first page.]

You can drop Sue Kruse a line at tggrfn@aol.com

“Aladdin, Live or DOA?” – Sue Kruse reviews the Aladdin press event [Oct 14, '02]

“Storytelling at Disneyland” – Adrienne Krock details Disneyland's Aladdin and Jasmine StoryTale Adventures [Jan 10, '01]

“The Lion King” – Sue Kruse reviews the Broadway show [Mar 5, '01].

“The Lion King” – Magic Years writer Christopher reviews the Broadway show [Sep 19, '01].

“Beauty & the Beast” – Magic Years writer Christopher reviews the Broadway show [Sep 5, '01].

Go to: Top | Section Contents | MousePlanet Main Page

Copyright © MousePlanet® Inc. | Legal Information & Privacy Policy | About/Contact MousePlanet | Link to us

MousePlanet® is not associated in any official way with the Walt Disney Company, its subsidiaries, or its affiliates. The official Disney site is available at www.disney.com. This MousePlanet Web site provides independent news articles, commentary, editorials, reviews, and guides primarily about the theme park resorts of the Walt Disney Co. All information on this site is subject to change. Please call destinations in advance to confirm the most up-to-date information.