InReview InReview

SA QLD
Support independent journalism

InReview

Review: Aladdin the Musical

InReview

Even if you’ve seen the Disney animated feature Aladdin and love Oscar-winning composer Alan Menken’s marvellous music, you won’t be prepared for the magnificent spectacle that is Aladdin the Musical, writes Greg Elliott.

Print article

There are simply not enough superlatives for the brilliant creative team, exceptionally talented ensemble and amazing technological geniuses involved in this touring Broadway show.

Aladdin begins with a visually colourful rendition of “Arabian Nights”, setting the scene for a market in the city Agrabah, and each new scene gets bigger and brighter, funnier and more poignant. Director and choreographer Casey Nicholaw ensures there is not a moment or a beat without some precise action transfixing and transporting the audience.

At the heart of the show is a tale about the connection between a poor boy and a princess and how true love can prevail; unrealistic, escapist nonsense, you may think, but on stage there is a powerful magnetism between the lead characters that permeates the cast and connects with the audience.

Charismatic Gareth Jacobs, as the Genie, sings, dances and jokes around with the audience at the outset, letting us know we are in for a great night.

Graeme Isaako is cheeky and fun as Aladdin, the “diamond in the rough” – he exudes goodness, and is accompanied by a slick trio of loveable rogues. Shubshri Kandiah is the gorgeous Princess Jasmine, who shows plenty of spunk as a modern woman asserting her place in the world and defying masculine tradition.

Villainous duo Jafar (Adam Murphy) and Iago (Doron Chester) execute their evil plans with charm and comedy, with Jafar coming undone when his lust for power exceeds his ability to rule.

Yes, Aladdin is sentimental and a little schmaltzy – and for a poor, dirty marketplace, the characters’ clothing is exceptionally pristine – but the audience will forgive that because everything is so colourful and we are swept away with its beauty. The settings by multi-Tony-award-winning designer Bob Crowley are all picturesque, but the cave, especially, is an astonishing creation that will have the most hardened cynics believing there is a magical presence manipulating mankind.

I have never witnessed a standing ovation before interval, but such is the experience of Aladdin. And, if you are wondering how they stage the carpet ride while singing “A Whole New World”, you must see it for yourself to believe it.

The moral at the heart of Aladdin could be seen as a reminder that we should want people of quality in leadership – those who are honest, genuine and who stay true to their promises. And this production – with its splendour, colour, movement and passion – is truly a magical carpet ride.

Aladdin the Musical is playing at the Festival Theatre in Adelaide until June 9.

Make a comment View comment guidelines

Support local arts journalism

Your support will help us continue the important work of InReview in publishing free professional journalism that celebrates, interrogates and amplifies arts and culture in South Australia.

Donate Here

. You are free to republish the text and graphics contained in this article online and in print, on the condition that you follow our republishing guidelines.

You must attribute the author and note prominently that the article was originally published by InReview.  You must also inlude a link to InReview. Please note that images are not generally included in this creative commons licence as in most cases we are not the copyright owner. However, if the image has an InReview photographer credit or is marked as “supplied”, you are free to republish it with the appropriate credits.

We recommend you set the canonical link of this content to https://inreview.com.au/inreview/2019/04/08/review-aladdin-the-musical/ to insure that your SEO is not penalised.

Copied to Clipboard

More InReview stories

Loading next article