Photo by Deen van Meer
Michael James Scott (Genie) in Pantages Theatre’s Aladdin
If you’re familiar with the film, you’ll remember the storyline of Arabian urchin Aladdin (Adam Jacobs) meeting runaway princess Jasmine (Isabelle McCalla) and, with the help of zany, wish-granting Genie (Michael James Scott), sweeping her off her feet (literally) on a magic carpet of love.
But will she, a royal princess, be allowed to actually marry a boy who can barely afford to buy bread?
The production introduces a few new songs into the mix, such as “Proud of your Boy,” which Aladdin addresses to his mother, adding more poignancy to his character than in the film. He also gains a posse in this version— his friends Babkak (Zach Bencal), Omar (Philippe Arroyo) and Kassim (Mike Longo)— who add energy and humor while having his back, especially in their own extended number, “High Adventure.”
The bad guys— scheming Jafar (Jonathan Weir) and his sidekick, the impishly hilarious Iago (Reggie De Leon)— are brilliant, with Weir channeling a creepy Vincent Price and De Leon’s comic one-liners perfectly timed.
Jacobs and McCalla as Aladdin and Jasmine are not only extremely charming as the young couple but very talented singers who also act with complete warmth and believability.
As in the film, though, it’s Genie who steals the show (and knows it!). Voiced in the film by the late Robin Williams, his character, confined to a small oil lamp despite his unlimited power, is flamboyant and unceasingly hysterical. Scott as the Genie in this production is all that and positively dripping with diva-ness.
Despite his larger-than-life personality, Genie, like Jasmine and Aladdin, feels trapped. All three want freedom, not only from a lamp and “These Palace Walls” (one of Jasmine’s songs) but also, in Aladdin’s case, from social labels.
Jasmine is confined not only by her position but also by her gender. At one point she defiantly asks, “Why can’t a woman run the kingdom?” (getting enthusiastic audience response), to which Iago quips to Jafar, “Talk about living in a fairy tale….”
Jokes and jibes like this abound and are decidedly contemporary in flavor, updating the whole tone of the production for current audiences (the film was originally released in 1992). A referenced contest, for instance, is called “Dancing with the Scimitars” (playing on “Dancing with the Stars” ).
The stereotyped exoticism of the film, seen in such numbers as “Arabian Nights,” has not been updated, however, persisting not only in culturally mish-mashed choreography but also in the sparkly, silky-sheer and colorful costuming, even in a dusty marketplace. But though potentially problematic, it’s all spectacularly pretty.
Set design is also spectacular and literally transporting, with an actual magic carpet ride among the stars (how do they do that?). It’s also lavish— the vast cave of glistening gold from which Aladdin steals the lamp fills the stage (drawing awed audience appreciation on opening night).
The art-deco design of the Pantages Theatre itself, including its plush velvet seats, is a fitting setting for this opulent production. Experiencing it would be treating yourself to an enjoyable and entertaining extravaganza, a spectacle worthy of a genie’s wish.
Aladdin continues at the Pantages Theatre, 6233 Hollywood Blvd., in Los Angeles, through March 31, with performances Tuesday through Friday at 8pm, Saturdays at 2pm and 8pm, and Sundays at 1pm and 6:30pm. Tickets are $35-$125+. For tickets and information, call the theatre at (323) 468-1770 or visit hollywoodpantages.com.
