Want to see a great Bromance where the lead actors have each others backs? Go see Aladdin now at The Pantages. The first time I experienced Aladdin was in 1992 with my young daughter as we watched Disney’s animated feature until we could sing every word to each lyrical songs by Howard Ashman (two time Oscar winner) and Time Rice (three-time Tony and Oscar winner) and music by Alan Mencken (Tony Award and eight-time Oscar winner).
Sitting through the opening night performance, I noticed this newer Broadway-musical has many of the same characters and songs, with a few new additions. Director Casey Nicholaw (The Book of Mormon, and Something Rotten!) and book writer Chad Beguelin opened Aladdin at the New Amsterdam Theatre in 2014 to critical acclaim.
It’s hard to be the Genie, after the late comedic Robin Williams brought the lovable character to life in a schizophrenic whirlwind of humor and charm, yet actor Michael James Scott is bigger than life character onstage receiving adoration from the Los Angeles audience, especially in the golden “Friend Like Me” musical number.
Adam Jacobs is the perfect Aladdin. He opened the show as the title character on Broadway and we are lucky in Los Angeles to see this talented and charismatic Broadway star onstage.
The rich voice behind Jafar is actor Jonathan Weir. Instead of a wisecracking parrot sidekick, the evil villain has a hilarious human partner played by Reggie De Leon as Iago. Jafar’s references to the beloved bird from the animation is in a line to De Leon “Really Iago, must you parrot everything.“ Iago reminds me a lot of Gaston’s sidekick, LeFou in Disney’s Beauty and the Beast.
Jasmine played by Isabelle McCalla’s performance warms up when she takes a magic carpet ride with Jacobs. Who wouldn’t, he’s dreamy.
New songs in the show include Aladdin singing a moving number, “Proud of Your Boy” and the hilarious “Babkak, Omar, Aladdin and Kassim.” They come back after intermission with the show stopper “Somebody’s Got Your Back”.
Aladdin is designed by seven-time Tony-winning scenic designer Bob Crowley, and six-time Tony-winning lighting designer Natasha Katz. Their sets are spectacular, especially when the emerald green interior of the cave where Aladdin and the Genie meet, turns into a brilliant golden oasis with a tap dancing, fist pumping number with references to other successful Menken, Ashman and Rice Disney musicals. The applause was almost deafening as Michael James Scott was visibly moved by the audience adoration, thanking Los Angeles for their kindness.
There was some Disney magic during the breathtaking magic carpet scene with a black sky and shooting stars, as Aladdin and Jasmine soared above the stage without a base or cable lines for the audience to see.
Two-time Tony-winning costume designer Gregg Barnes colorful array of Las Vegas style “bling” outfits include belly dancing ladies in harem pants, shirtless sword swallowing men and a sparkling Genie’s Zoot Suit.
Another impressive scene was “Prince Ali” with choreography by Nicholaw, vocals and music by music director Michael Kosarin, orchestration by Danny Troob and dance music arranged by Glen Kelly. Disney style streamers are shot into the audience and pyrotechnics create a grand scale introduction.
As a line in the show states, “It’s not what’s on the outside, it’s what’s inside that counts.” Inside the Pantages, they have another winning show that appeals to families (children under 8 might be scared during a couple scenes) and Aladdin fans of all ages.
Disney is currently working on Aladdin, an upcoming American musical movie directed by Guy Ritchie. It’s scheduled to premier in 2019.
To purchase tickets, Click on this link.