Hennepin Nights! - Disney's Aladdin by Amy Watters

 Amy Watters

Disney's Aladdin 

Hennepin Nights!

Growing up with two Disney adults as parents, I watched more than my fair share of the classics and Aladdin was always a favorite of mine. I adored the vibrant setting, dynamic characters, and Alan Menckan’s spellbinding score. Fortunately, the stage adaptation now showing at the Orpheum Theater from December 5-10  captures this magic in most regards, if at the expense of the story.

The show opens brilliantly with “Arabian Nights,” setting the tone and placing the audience in the middle of Agrabah. While Marcus M. Martin’s energetic performance as Genie excites the audience, the entrance of the ensemble’s vocals and dance elevates the number into a spectacle due to the powerful harmonies and crisp choreography.

Immediately the production wowed me with Gregg Barnes’ gorgeous costumes. I especially loved Jasmine and Genie’s costumes, some of which glittered for us in the back of the house. The production design and stage direction also deserve shoutouts for turning such a small space into a bustling city. However, the real star of the show is the Cave of Wonders, the design of which was so stunning it hurt my eyes just looking at it. The attention to detail was phenomenal with hanging gold pieces that made the space truly feel like a sand cave made of riches. Occasionally the backdrops appeared bland in comparison, but the highs of the Cave of Wonders and Jasmine’s quarters more than made up for it.

Though the production was outstanding, the performances varied. Although each performer brings new life to their characters, the show’s structure holds them back. As I mentioned earlier, Martin is incredible as Genie. Taking on one of the most iconic roles in film history is no small feat and Martin triumphs. He carries multiple musical numbers due to the sheer energy and light he gives the character, especially during the 8-minute showstopper “Friend Like Me.” Senzel Ahmady shines as Princess Jasmine, who gracefully portrays her character’s conflict and personality. Of the new music, her song “These Palace Walls” stands out for bringing new context to the character. 

Unfortunately, other characters failed to translate as strongly. Anand Nagraj as Jafar was particularly disappointing, failing to convey the menace of the original character. This issue was exacerbated by a shocking lack of stage time for the character as the show favors spending time with Aladdin’s friends. Although their songs “Babkak, Omar, Aladdin, Kassim” and “High Adventure” are entertaining, they don’t add depth to the story, taking away time to develop the principal cast. Aladdin suffers the most, leaving the audience confused about what his character learned over the course of the story. His main conflict regarding his shame for his background is not truly introduced until Act 2 and is quickly resolved when Jasmine forgives him for lying almost immediately. Considering the excellent structure of the original, I found myself disappointed by the musical’s lack of resolution for Aladdin which left the story feeling incomplete.

While watching the show, I found myself thinking that within this 2 hour-long spectacle there was a tighter and more compelling 90-minute story hidden within it, which just so happens to be the animated film with its more fleshed-out characters, stronger plot, and fantastically-despicable protagonist. Nonetheless, the gorgeous production design, stellar ensemble, and lead performances made for an enjoyable end to my Tuesday.