By Dale King
The latest iteration of Aladdin, one of the oldest and most told and retold tales in literary history, is being performed through Friday at the Kravis Center for the Performing Arts in West Palm Beach.
The production, based on Walt Disney’s 1992 animated film, is festooned with colorful characters, a pleasing, often powerful musical score and amazing high-tech sets, along with exceptional choreography performed by elegantly costumed dancers.
But when the audience leaves Dreyfoos Hall after the two-hour, 20-minute show that includes an intermission, they may not be thinking of Aladdin, the nasty villain Jafar, the beautiful princess Jasmine or the powerful Sultan. They are more likely to be dreaming of Genie.
Yes, when veteran entertainer Marcus M. Martin (Genie) poofs out of his magic lantern during Act I, he does so with funky flair, perking up what could be a mid-level role with jive and jazz that immediately grabs the audience, judging by the burst of applause. It’s apparent he’s taken a cue from the late actor Robin Williams, who voiced the jazz-jargoning guy-from-the-lamp in the Disney flick.
Actually, Martin is first on stage to open the tune-filled production with an up-tempo rendition of “Arabian Nights” that literally sets the stage for what’s to come. As he sings, scenery begins drawing together around him, creating the Middle Eastern town of Agrabah where Aladdin (Adi Roy), a poor street kid looking to earn some coin, makes his entrance.
Just before the songs smartly crafted by Alan Menken, Howard Ashman, Tim Rice and Chad Beguelin begin, the stage expands with remarkably realistic settings. Even the desert sand seems to have texture, and the realistic street vendors create a convincing cityscape for an Arabian village, circa 1700.
People have problems back then, too, the play clearly indicates. And it’s not just Aladdin’s lack of regal stature. Princess Jasmine (Senzel Ahmady) — acting more like a 21st century woman than a damsel from 300 years ago — rejects her father’s demand that her chosen husband be of royal blood. She wants to marry a man of her own choice – and she storms off to blend in the with regular folks in the courtyard. That’s where she meets and forms an instant connection with Aladdin.
But they separate – and don’t meet again until he appears in the castle of her father, the Sultan (Sorab Wadia). In the meantime, The Genie, having granted Aladdin’s wish, transforms him from a street urchin to phony “Prince Ali Ababwa.”
As the play moves on, their love grows – and marriage bells seem to be in the air. But Aladdin is torn between tying the knot with Jasmine in his bogus guise of “Prince Ali” or admitting to her that he’s nothing more than a poor boy — a position in life he feels will be unacceptable to her or her dad.
All the while, Jafar (Anand Nagraj), a ruthless sorcerer and the royal vizier of Agrabah, working with his diminutive apprentice, Iago (Aaron Choi), plot to take over the Sultan’s throne and rule the land. Jafar comes very close to succeeding when Genie magic turns the tables.
All in all, Aladdin is a gorgeously produced show that’s a delight from start to finish. Sure, there are a few glitches, mainly in vocals that stray slightly off key. But the costumes and set design are beautiful, and Aladdin and Jasmine’s magic carpet ride — set to the show’s best-known song, “A Whole New World,” inspires gasps of delight.
With both players on board, so to speak, the carpet seems to magically glide against a pitch-black background where wires or any other supporting structures are not visible. This adds a mystical touch to a tune whose message is already romantic and sublime.
Aladdin is filled with action, lots of it dance-oriented. Director Casey Nicholaw not only helms the full stage production but deals with terpsichorean training as well. Swordfights are also prevalent — and even Jasmine herself must grab a foil to defend herself.
The special effects are stunning. When Aladdin enters the Cave of Wonders to retrieve the lamp at the behest of the evil Jafar, the set and background virtually explode, morphing from an ordinary wall into a cavernous entity with the head of a serpent. Obelisks of gold appear around the cave — and the lamp is located on one of them.
Roy and Ahmady are cute as the lead couple, but there’s not a lot of chemistry. Nagraj is excellently evil as Jafar, with a voice as deep as Darth Vader — which makes his nasty side even darker. Choi is perfectly tiny and squeaky voiced as the evil sorcerer’s aide.
The orchestra, under the capable direction of James Dodgson, excels in its accompaniment, and helps keep some of the vocalists on track.
Aladdin runs through Friday at the Kravis Center for the Performing Arts, 701 Okeechobee Blvd., West Palm Beach. For tickets and information, call 561-832-7469 or visit kravis.org.