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Aladdin
a Musical
CATEGORY : COMEDY MUSICAL
by Alan Menken (music), Howard Ashman and Tim Rice (lyrics), and Chad Beguelin (book and lyrics)

COMPANY : Broadway Across America [WEBSITE]
VENUE : The Fabulous Fox [WEBSITE]
ID# 5335

SHOWING : September 12, 2018 - September 23, 2018

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PRODUCTION DESCRIPTION

Discover a whole new world at Disney’s "Aladdin," the hit Broadway musical.

From the producer of "The Lion King" comes the timeless story of Aladdin, a thrilling new production filled with unforgettable beauty, magic, comedy and breathtaking spectacle. It’s an extraordinary theatrical event where one lamp and three wishes make the possibilities infinite.

See why audiences and critics agree, "Aladdin" is “exactly what you wished for!" (NBC-TV).


CAST & CREW LIST
Click to Submit Cast & Crew Info for this production
REVIEWS

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The Magic of Production Values
by playgoer
Friday, September 14, 2018
4.5
The Broadway Across America touring production of "Aladdin" pulls out all the stops. The scenic design by Bob Crowley, costumes by Gregg Barnes, lighting by Natasha Katz, hair design by Josh Marquette, makeup design by Milagros Medina-Cerdeira, and illusion design by Jim Steinmeyer combine with Casey Nicholaw’s choreography and direction to make the production spark, sparkle, and dazzle. The wondrously colorful action is a constant delight for the eyes.

The sound is also mighty good. Ken Travis’ sound design may be a bit loud overall, but Danny Troob’s orchestrations, Glen Kelly’s dance music arrangements, and the cast’s voices under the supervision of Michael Kosarin make the score by Alan Menken and a serial group of lyricists sound great. Spoken voices in the most intimate scenes drop perhaps too low in volume, but it’s not difficult to follow things, even from the last row of the Fox’s gallery.

The original animated movie contained mostly human characters, so translation to the stage didn’t require extensive changes. The parrot Iago has been changed to a parroting toady, and while the Genie (Trevor Dion Nicholas from the West End production) can’t shape-shift the way Robin Williams’ avatar did in the movie, some of the same off-the-cuff riffing is in evidence, such as when he pulls a Braves cap from a pocket at the start of the show.

The production moves along swiftly, and the principals and ensemble are all up to the task of putting across the endlessly energetic action. All roles are filled more than adequately, with no particular standouts (although Mr. Nicholas is certainly an audience favorite). What can you say? Disney Theatricals strikes again, and we’re talking bowling here, not baseball. [POST A COMMENT REGARDING THIS REVIEW]


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