Fighting for what we want, persisting, and never forgetting our origin, our past, and our lineage are what shape us and make us who we are. We can try to hide parts of ourselves or reinvent our image, but our true nature always finds a way to shine through. As the proverb reminds us, even when the monkey dresses in silk, it remains a monkey. Not as a judgment, but as a quiet truth about identity. No matter how much Aladdin changed his name, became a prince, or tried to leave his origins behind, even at the cost of his principles and friendships, it was his ingenuity, authenticity, and heart that ultimately won the love of his beloved.
With Aladdin on Broadway they really threw the palace out the window! This is a show of a very high technical and artistic level, a display of budget brilliantly used.
Let us begin with the beautiful set design, incredibly agile and functional. We were transported from the beautiful New Amsterdam Theatre to the desert, the bustling open air market, Aladdin’s small home, the outskirts of the castle, inside the palace, the dungeons, Jasmine’s room, outside the cave, inside the cave, an endless number of magical settings built and assembled with great skill.
Two exquisite details stand out: the stage traps from which the Genie, dancers, and other characters appeared and disappeared, and of course the magic carpet. It left us speechless. The scene of Aladdin and Jasmine flying at night over the city of Agrabah is perfect, so much so that we went online to find out how that mechanism works. Without a doubt, it is pure genius. We leave you the task, but we will tell you a little.
The Broadway magic carpet is a work in evolution that began in Seattle, where the musical premiered in 2011, and includes the contribution of Jim Steinmeyer, theatrical illusion designer. Undoubtedly, a true stroke of genius.
The costumes are haute couture, and their changes are sensational magic tricks that happen live, right before your eyes, in a matter of seconds.
The live orchestra in the pit is magnificent. It enhances the staging, accompanies it, and even co-stars in this beautiful musical journey.
More than 30 performers are on stage, all of them up to the task, but we highlight the work of Iago, who here is a jester and not a parrot, portrayed by Don Darryl Rivera, who delights us with his refined physicality and voice in comedy. And without a doubt, the Genie, played by Tevae Vontrell Shoels, who happens to be the alternate actor for this role, and who, with a dazzling display of talents wins us over from beginning to end.
The theater was full on an icy winter Tuesday. We were happy children and adults, singing and dreaming with the magic of Disney. An experience that deserves to be lived and that we hope one day will be more accessible, and why not, free for those who cannot afford tickets.
Two curious facts:
- This Disney tale is based on One Thousand and One Nights (also known as The Arabian Nights)
- The city of Agrabah is fictitious. Its name is an anagram created after changing the original location of Baghdad due to the Gulf War.