Aladdin: One Jump Behind - Jed Stahlback

 Aladdin: One Jump Behind

Having previously seen Aladdin two times on Broadway, once with James Monroe Iglehart, the original Genie who won a Tony award for the role, and growing up watching the animated Disney movie, this production of Aladdin felt bland, uninspired, and overall disappointing. Aladdin: The Musical tells the tale of a young beggar named Aladdin who discovers a magical lamp containing a Genie. Set in the city of Agrabah, the musical follows Aladdin's adventures as he uses the Genie's powers to win the heart of Princess Jasmine, while facing the heartless and conniving Jafar who seeks the lamp for his sinister purposes. 

Despite the promise of transporting audiences to a vibrant, mystical world, the set design fell remarkably short, lacking the vivacity and grandeur expected. The stage, regrettably, appeared dull and monotonous, failing to capture the essence of Agrabah's enchanting allure. The minimalistic approach felt more like a barren canvas than the bustling marketplace one anticipates in the tale.

Moreover, the casting choices unfortunately missed the mark in embodying the iconic characters. The actors seemed disconnected from their roles, lacking the depth and charisma needed to bring these beloved personas to life. Aladdin, played by Adi Roy, lacked the charm and relatability that made the character endearing, leaving a void in the heart of the performance. Roy also messed up the words in “A Whole New World” but was luckily saved by Jasmine, played by Senzel Ahmady, who sang his part and played it off well. Senzel Ahmady’s portrayal of Jasmine, while earnest, fell short of encapsulating the assertive yet compassionate nature that defines her character.

This specific production missed crucial opportunities to infuse the narrative with the magic and wonder integral to the story. The absence of visual spectacle and the reliance on underwhelming effects diminished the show’s potential. The lack of innovation and imagination in executing pivotal scenes, such as the iconic magic carpet ride or the Cave of Wonders, left much to be desired, failing to evoke the awe-inspiring moments audiences eagerly anticipate.

Additionally, many of the talented actors were unable to be understood due to their poor diction during the show. Characters such as the Genie, played by Marcus M. Martin, or Babkak, played by Jake Letts, fast-paced dialogue and deficient enunciation left many jokes unintelligible leading to the comedy of the show falling flat.

While the musical numbers retained their infectious melodies, the execution failed to captivate. The choreography, while technically very proficient, lacked the energy and enthusiasm needed to elevate the performance. The songs, instead of being showstoppers, felt like mere renditions, missing the opportunity to enthrall and transport the audience. One example of this is the song “Friend Like Me” much of the song felt mundane and sloppy, with many actors bumping into each other. However, “Friend Like Me” was saved by the tap dancing at the end of the number and the big finish, which felt like the cast members were having fun being on stage and working together, giving the audience the same experience in their seats.

In essence, this rendition of Aladdin fell short of capturing the soul and magic of the beloved tale. The lackluster set design, misaligned casting choices, and disjointed execution hindered the production from achieving the brilliance expected from such a cherished story. Despite retaining the heart of the narrative, the show failed to deliver the enchantment and spectacle that make Aladdin a timeless classic.