Posts Tagged ‘Aladdin’

“Aladdin” Entertains in Formulaic Style at the Fox

Posted in St Louis Theatre, tagged , , , , , , , , , on November 15, 2018| Leave a Comment »

Aladdin
Music by Alan Menken, Lyrics by Howard Ashman, Tim Rice and Chad Beguelin
Book by Chad Beguelin
Directed and Choreographed by Casey Nicholaw
The Fox Theatre
November 9, 2018

Cast of Aladdin
Photo by Deen van Meer
Aladdin North American Tour

Aladdin is a crowd-pleaser. There’s no question about that when you attend the touring production at the Fox and hear the enthusiastic audience reactions to this adaptation of the popular Disney animated movie. It’s got a memorable score and some classic songs, as well as big, bright, flashy production values and an excellent cast. There’s a lot to enjoy about this production, although there are also some problems.

The show, as presented at the Fox and based on the Broadway production, is essentially like a Disney theme park attraction on stage. It’s not particularly authentic to the Middle Eastern setting–in fact, the Genie (Michael James Scott) makes a point in his introduction of telling the audience that this is a fictional location, and especially stressing the word “fictional”. The cast is very diverse, but the show is definitely not going for accuracy in terms of setting and tone, either. It’s all extremely stylized and played up for humor. The film was also highly stylized, so this is just following that precedent, although this stage version is even more so, somewhat in the vein of a 1950s-style sketch comedy show. The hit songs from the film are all here, from “Friend Like Me” to “A Whole New World” and more. The story is essentially the same as the film, but with some changes—Aladdin (Clinton Greenspan) now has three sidekick-friends–Babkak (Zach Bencal), Omar (Phillippe Arroyo), and Kassim (Jed Feder) who show up from time to time, and villain Jafar (Jonathan Weir) still has his henchman Iago (Jay Paranada), but Iago is not a parrot and the other animal characters from the film have been written out. Princess Jasmine (Lissa deGuzman) is given a little bit more to do and sing. Also, Aladdin is given a little more backstory and some plot points have been changed and rearranged, and the ending seems somewhat abrupt.

I first saw the stage adaptation of this show a few years ago when the Muny presented it, prior to its Broadway run. It was still in the development stages. Seeing it again at the Fox, I’ve noticed a lot of changes made to the script in the meantime, some of which are improvements and others that are more questionable. For instance, Aladdin’s three friends were the narrators in the Muny version, and seemed more of a presence in the story. Here, the narrator role has been given to the Genie, which seems appropriate in one sense since the Genie is such a memorable character. Still, the three friends now seem more like thrown-in characters and don’t seem to have a lot of purpose in the story. Still, this isn’t trying to be deep or challenging. It’s trying to be a big Disney spectacle, and it succeeds at that, for the most part.  It’s big, it’s flashy, there’s an impressive, ornate, versatile set by Bob Crowley, whimsically stylish costumes by Gregg Barnes, and atmospheric lighting by Natasha Katz. It almost looks like an animated film come to life, and director-choreographer Casey Nicholaw’s choreography is energetic and well-performed.

It’s the performances, in fact, that are the real highlight of this production, led by Scott in a funny, high-energy, charismatic turn as the Genie. Actually, with this show it’s worth wondering why they don’t just retitle it Aladdin and the Genie or even the other way around because even though Aladdin has the most stage time, the Genie is really the star. Greenspan is an amiable Aladdin as well, with a strong voice and excellent chemistry with the equally strong deGuzman as Jasmine. Their duet on “A Whole New World” is a highlight, as is the staging of that song, which is a major improvement on the version I saw at the Muny. Weir and Paranada are also excellent, hamming it up with enthusiasm as a pair of over-the-top cartoon villains. Bencal, Arroyo, and Feder do well with their underwritten roles, as does Jerald Vincent as the Sultan. The leads are supported by a strong ensemble that does well with the high-energy dancing and production numbers, as well.

There’s more than a little bit of the commercial about this Aladdin, but that’s not a surprise, really.It has a great cast and memorable songs. It’s a bright, tuneful, energetic show that’s sure to attract a large family audience, and if that’s what you are looking for, you should enjoy it.

Michael James Scott
Photo by Deen van Meer
Aladdin North American Tour

The North American tour of Aladdin is being presented at the Fox Theatre until November 25, 2018

 

 

 

 

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The Road to Muny Magic

Posted in St Louis Theatre, tagged , , , , , , , , , on July 13, 2012| Leave a Comment »

Aladdin

Music by Alan Menken, Lyrics by Howard Ashman, Tim Rice and Chad Beguelin, Book by Chad Beguelin

Directed by Gary Griffin

Choreographed by Alex Sanchez

The Muny, St. Louis

July 9. 2012

As a longtime fan of animated films, I have to admit that Aladdin was not one of my favorite of Disney’s films, even though I did enjoy it.  I wasn’t sure what to expect when I heard that the Muny would be presenting a new stage production based on the movie, but I figured it would probably be a crowd-pleaser, and it certainly has turned out to be just that.  In many ways, this production is the ideal Muny show, and it’s another excellent entry in this season of the newer, revitalized Muny.

Book writer Chad Beguelin has tweaked the story of the film to make it work better onstage and to make it longer.  The story is now reminiscent of the old Bob Hope/Bing Crosby “Road” movies, with a trio of narrators: Omar (Jason Graae), Babkak (Eddie Korbich) and Kassim (Francis Jue), who make a grand entrance on real camels (gotta love the Muny) to introduce the setting and then reappear throughout the story to serve as narrators and commentators on the action. They also are traveling musicians and bandmates with Aladdin (Robin DeJesus), the young “diamond in the rough” who finds adventure and meets a princess (Samantha Massell as Jasmine), falls afoul of the evil Jafar (Thom Sesma) and gets help from a campy, wisecracking, larger than life Genie (John Tartaglia) along the way.  This is basically the plot of the movie without the animal sidekicks and a few extra characters and plot twists. Even Jafar’s crony Iago (Curtis Holbrook) who isn’t really given much to do, doesn’t seem to be a bird in the show as he was in the film. He’s just a colorfully dressed, parrot-like human henchman.

This production is a great example of the power of spectacle and great performances, because even though the story is simplified in some ways from the film and there aren’t any over-the-top special effects, this production is anything but dull.  Its big, colorful sets (most notably the Cave of Wonders) and bright costumes help set the mood, but the performances are really what drive the show.  Tartaglia as the Genie (even though the role seems smaller than it was in the film) owns the stage from his first entrance from the audience on a motorcycle (more Muny magic at work).  His over-the-top, flamboyant characterization sets the tone for the show, with many pop-culture references and asides to the audience, including a great deal of Muny in-jokes.  He’s like a human Disney World ride with all his energy, and he makes the most of every moment he’s onstage.  His introductory number “Friend Like Me” is a true showstopper, and even though Tartaglia is backed by the excellent Muny ensemble, he almost doesn’t need them since all eyes in the house are on him.  It’s a great comic performance, and the rest of the cast almost match him in their energy and enthusiasm.  DeJesus as Aladdin, Massell as Jasmine and the always excellent Ken Page as the Sultan all give convincing performances, as do the trio of narrators and and the rest of the cast, but Tartaglia really is the centerpiece.

The musical numbers are a combination of songs from the film, songs that were written for the film but cut during production (such as the moving “Proud of Your Boy”, movingly performed by DeJesus), and songs that were written specifically for the stage show.  Of the last category, the most notable is the rousing, Vaudeville-styled  “Somebody’s Got Your Back”, which is performed with gusto by Aladdin and his trio of bandmates.  The large Muny ensemble is put to good use, with some big, bright, energetic dance numbers. The only slight disappointment is in what is perhaps the most famous song from the film, “A Whole New World” which, while beautifully sung by DeJesus and Massell, was distinctly underwhelming visually as Aladdin and Jasmine are simply spotlighted on the dark stage, sitting on the magic carpet with a background of just a few stars behind them.   Still, even with that small let-down, it was an extremely entertaining production, and the cast, crew and  creative team obviously pulled out all the stops to deliver such an elaborate and fun show.

I’m somewhat of two minds reviewing this show, because as a performance I really enjoyed it, but structure-wise  I think it needs a little bit of revision before it can play on Broadway, which is apparently the ultimate aim of the show’s producers.  There are a few issues that I think should be addressed with the story–the role of the three narrators can get confusing as they pop in and out of the action, some characters are given very little to do, and I think there’s a little too much breaking the fourth wall, to the point where it can take the audience too far out of the story– but for the most part it’s an engaging presentation of the story from the film with a few entertaining additions. I think the show does need some work in the writing , but the performers give their all, the production looks good, and it’s a whole lot of fun to watch.  In many ways, this is the ultimate Muny show, and it makes for a great evening of music, laughter and spectacle.

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Muny 2012 Season Thoughts

Posted in St Louis Theatre, tagged , , , , , , , , , on May 3, 2012| Leave a Comment »

It’s almost that time again! Summer is rapidly approaching, and that means Muny season. This year introduces a big change for the Muny—a new Executive Director, Mike Isaacson. It looks like Isaacson’s first season will be eventful, as well, with fewer 5-6 year repeat shows and more shows making their Muny debuts. Before sharing my thoughts on the new season, though, I thought I’d address some criticisms I’ve heard and answer the general question of “why should I care about the Muny?”

Love it or hate it, the Muny is a St. Louis institution.  I understand the criticisms– some theatre critics want it to be less conventional and more imaginative, and some St. Louis-based performers wish the powers that be would cast more locals in leading roles.  I understand both of these criticisms and agree to a point, but for the most part I love the Muny.  It’s not Broadway or the West End, but there is often top-level talent involved, and the shows are usually enjoyable and often excellent. This is a company that puts together seven full-scale musical productions in three months with very little rehearsal time per show. There have been some uneven productions and odd casting, but there have also been some truly spectacular productions such as Les Miserables in 2007. In the eight years I’ve lived in St. Louis, I’ve come to regard the Muny as an essential summer activity. Despite its limitations, I enjoy the Muny and I take its productions seriously, and I look forward to each new season.

What the Muny does well is to bring musical theatre to audiences of thousands every summer, on a huge stage in a gigantic venue in the middle of one of the most beautiful urban parks in the country.  OK, I’m biased here, but Forest Park is wonderful, and so is the atmosphere of the Muny.  The whole experience of going to a show at the Muny is an important part of its draw, but the shows are what will keep bringing the audiences back.

Some would argue that the Muny stagnated over the past decade or so under the leadership of longtime Executive Director Paul Blake, and in a way I agree. It did seem like we saw a lot of the same shows and same people over and over, and it will be nice to see some changes.  Still, as big as it is, it is never going to be a cutting-edge venue.  It has to appeal to the masses, but the producers could stand to take a few risks.  It will be interesting to see how much energy Isaacson will be able to inject into the venerable institution in his first season at the helm. The selection of shows for the 2012 season certainly looks like a step in the right direction.  Here’s the list, with my thoughts following:

Thoroughly Modern Millie

Chicago

Aladdin

Dreamgirls

Joseph and the Amazing Technicolor Dreamcoat

Pirates! (Or, Gilbert and Sullivan Plunder’d)

The King and I

First off, I have to say I’m somewhat surprised that neither Chicago nor Dreamgirls had ever been produced at the Muny before. Both are well-known, much-loved shows with popular film versions, so the appeal to the massive Muny crowds is obvious.  It will be great to see both of of these shows on the enormous Muny stage.  Dreamgirls also has the added attraction of Jennifer Holliday, re-creating the role she originated on Broadway, Effie White.  It has been argued that Holliday is now too old for the role and realistically, at 51 she probably is, but  I’m not sure if that matters as much in the context of the Muny.   She’s still Jennifer Holliday, and if she performs well (and I’m sure she will), that’s what matters. We will see how it all plays out, and I’m intrigued.  I’m also wondering how Chicago will play on that enormous Muny stage.  I’m looking forward to finding out.

As for the rest of the schedule, it’s encouraging to see that there are only two shows that have played at the Muny before. One of my biggest criticisms has been the frequent recycling of shows, and it’s great to see that not happening as much this year.  I’m especially looking forward to seeing the Muny debut of Thoroughly Modern Millie, and I’m very curious about Pirates! since it’s supposed to be a re-imagining of The Pirates of Penzance and I wonder exactly what that re-imagination will look like. There will also be some technical upgrades like the new LED “scenery wall” that promise to provide a new look to the productions.

In terms of casting, it looks like the Muny is changing the regular routine as well, going for more “star power” in names like Holliday in Dreamgirls, Leslie Uggams in Millie, and American Idol runner-up Justin Guarini in Joseph.  There is more casting still to be announced, but I find myself wondering if we won’t see as many Muny “regulars” this season.  I hope we do see a few, because there are some perennial Muny performers that I would love to see on stage again, like Curtis Holbrook, Kate Baldwin, Joneal Joplin and Ken Page.  Based on the casting that has already been announced, though, I wouldn’t be surprised if a few more big names will be part of the lineup.

So the bottom line is, I’m optimistic.  Because of a few summer commitments, I don’t think I will be able  to see all the shows this season, but I’m going to try to make most of them, and I am eager to see how this next chapter in the Muny’s history will unfold.  Maybe there is hope that we’ll finally get a Sondheim show in the near future. I think Into the Woods would be most likely in that vein, and as for the older but timeless classics,  I’m still holding out hope for Carousel. I do hope the Muny surveys stick around, and if they do I will be voting for both of those shows. That’s the future, though, but it does seem promising.  This season seems like a significant step in a new direction, and so far I’m liking it.

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