Ah, the new Hollywood Pantages (FB) season. We are finally past the juggernaut that is and was Hamilton, and we’re back into a more conventional subscription season. First up: Aladdin v4.0, otherwise known as Aladdin: The Hit Broadway Musical. This is to distinguish it from Aladdin: The Animated Movie Musical, and from the Aladdin stage show that was once down the street at Disneyland, and from the licensed version of Aladdin that you’ll find on the small stages of regional intimate theatres and school stages.* In fact, it was just a year ago that we saw one of these other Aladdins: a great bi-lingual production at Casa 0101 in East LA. All these pre-4.0 (Broadway) versions hewed relatively close to the original animated version (1.0); the great bi-lingual production added the conceit that the folks in the village spoke English while the people in the palace spoke only Spanish, and only the animals (Raja, Iago) could translate between the two. You can read my writeup of that show here; it truly added something, but can’t fit well in what we saw last night.
(*: Although this does note that it is based on the Disney film written by Ron Clements, John Musker, Ted Elliott and Terry Rossio and directed and produced by John Musker and Ron Clements.)
Last night, we saw the “Broadway” version of Aladdin. This version expands Aladdin from the original 90 minute animated story to a 2½ hour version. It does this by bringing back original ideas of the development team that were dropped as the animated feature was developed: Aladdin’s backstory, Aladdin’s friend. It eliminates the cartoonish aspects of the story: gone are any talking animals (or any animals at all). In fact, the only thing cartoonish that remains is the characterization of the Evil Vazir, and his comic-relief assistant, Iago. The Genie? He’s no longer a cartoon, and he’s no longer Robin Williams. Instead, he’s a manic Cab Calloway, a manic Queer Eye host — he’s still down to earth, but with more sequels and less shape-shifting.
There’s also a change in attitude. First, there’s tons of self-referential stuff and commentary that gives a wink and an eye to the fact that these people on stage are in on the joke that this is a Broadway musical. But more significantly, the Disney Princess problem is addressed. As Disney moved from its original suite of animated classic into the era of The Little Mermaid, the heroines became longing for more independence. They were less the passive princess. In the Broadway version (I forget how much this was in the animated version), Jasmine is feisty. The audience cheers with a wink and a nod when the Sultan proclaims that perhaps now is the time that we had a women leader; there’s a point being made at the end when it is made clear that Aladdin and Jasmine will be ruling as partners, not the traditional woman subservient approach.
These are all great changes, and they make the expanded show flow well and the timing not seem to drag. But still, you wish for more. In particular, you wish that Howard Ashman had not passed during the development of this show. The strongest songs in this show — the songs with the most clever lyrics — are Ashman’s. “Friend Like Me” is clearly designed to be an earworm, and is the song that comes into my head when I think of this show. Together with his writing partner Alan Menken, the songs they developed are the heart and soul of this show. The lungs of the show — what lifts it up — are the additional songs that Menken went on to write with Tim Rice. This particularly includes the ballad “A Whole New World”, which is executed in an amazing fashion in the stage version. The remaining songs, which are less memorable, are from book writer Chad Beguelin. It is not that they are bad — Beguelin is a strong writer and I love his work on Wedding Singer and Elf; however, compared to Menkin and Rice there is a level of difference and experience.
And thus, the wish: that Howard Ashman hadn’t past, and that we continued to have his genius enriching stage and screen. But alas, the Genie can’t bring back the dead (it’s in the rulebook), and in any case, he’s far too busy helping Ken Davenport with his podcast.
By this point, you’re probably saying: But he hasn’t told us the story of what Aladdin is about. That’s true, but you’ve probably seen the animated movie and thus know the basics. Your principles are Aladdin, a street rat in a mythical Arabian city, together with his three friends Babkak, Omar, and Kassim. Meanwhile, in the palace is the Sultan, Princess Jasmine, the Grand Vazir Jafar, and Jafar’s assistant/toady, Iago. Jafar wants to be Sultan, but Princess Jasmine is standing in his way. If she finds a Prince she likes and marries, that prince becomes Sultan. Luckily, she’s not the prince type; she prefers honest street rats. So Jafar cooks up a plan to win, by getting a magic lamp from a cave. However, a spooky voice tells us that this lamp can only be gotten by a “Diamond in the Rough”, who is, you guessed it, Aladdin (who incidentally, is the street rat that Jasmine prefers). From that setup, much of the rest is predictable, and one is ingenious is the execution, not the story. By the end of the story — what else? — Aladdin and Jasmine are together, Jafar is banished to a prison, and Aladdin’s friends are elevated to positions they deserve. The Genie? He’s packing his bags, presumably to find a job on the stage somewhere.
As one might imagine, there is a lot of frenetic activity on the stage, which is all coordinated through the direction and choreography of Casey Nicholaw. Nicholaw had the same role on the last Ahmanson musical we saw, Something Rotten, and he has a talent for bringing out humor through movement, and having organization on stage that seems chaotic. He did a good job here with loads of enjoyable dancing and dance numbers, quick changes, and fun. He worked with his acting ensemble to bring out characters well, although I do think that Jafar and Iago were a bit overplayed, but that may be more of the fault of the writing and their basis in the animated movie (although Iago was changed into a stooge-like sidekick ala Lafou in Beauty and the Beast, he kept much of the bird-like writing and characterization). Nicholaw was assisted by Associate Director Scotty Taylor (FB), Associate Resident Director Casey Hushion, and Dance Supervisor Michael Mindlin (FB).
Turning to the actors who are implementing Nicholaw’s direction: In the lead position — at least in the eyes of the audience — is Michael James Scott (★FB, FB) as the Genie. For those who remember the performance of the originator of the role at the Tony Awards — this guy is as good. He is having loads and loads of fun with this role, and that playfulness comes out in the performance — which is vital to this track. He’s a hoot to watch in his main number, “Friend Like Me” (which is one of my favorite numbers in the show), but he’s equally strong in the opening number as well as in “Prince Ali”. He fits in well with the glitz, glitter, and sequins. Oh, so many sequins.
The titular leads of the show are the happy couple, ostensibly Adam Jacobs (★FB), FB) as Aladdin and Courtney Reed (★FB, FB) as Jasmine. I say ostensibly because at our performance, Jacobs was out and replaced by his understudy, Clinton Greenspan (FB). Greenspan did admirably in the role with no obvious gaffes (although his voice could be a little stronger in “A Whole New World”. He executed the dances well, sang the songs reasonably well, handled the humor well, and had great chemistry with both the actress playing Jasmine, the Genie, and his trio of friends. Likely, this is because he has been the understudy since the start of the tour, and has presumably played the role before. Speaking of Jasmine, I enjoyed her performance. I saw a few writeups that commented on her voice, but I had no such problem with it (other than the two folks behind us who insisted in talking loudly in Russian during her main duet, “A Whole New World”). Reed danced well, sang well, and had a lovely charm and feisty-ness about her. Reed was new to the tour, having moved from the Broadway production to the tour for Los Angeles (I don’t know about beyond LA; Isabelle McCalla (FB) was Jasmine before Los Angeles) [ETA: Reed is Jasmine for 6 weeks — Per Broadway World: ” Courtney Reed will play the role of Jasmine from Saturday, January 13, through Sunday, February 18, 2018. Isabelle McCalla, original Jasmine in the ALADDIN North American tour company, will play performances in Los Angeles from Wednesday, January 10, through Friday, January 12, and then will return Tuesday, February 20, to Saturday, March 31, 2018.”]
In comic opposition to Aladdin and Jasmine were Jonathan Weir (FB) as Jafar and Reggie de Leon (FB) as Iago. Both were very comically drawn in their performances — and by that I mean that they took on the behavior of animated film villains as opposed to just realistic evil. Luckily, they were a bit self-aware of that (shall we do the evil laugh now?), which helped to offset the overdrawn. Still, they were clearly having loads of fun with their roles, and they executed them well. I wasn’t that enamored of their makeup, however; Jafar’s tended to look like it was a mask, although the binoculars made clear that it was not.
Aladdin’s friends were Babkak (Zach Bencal (FB)), Omar (Philippe Arroyo (FB)), and Kassim (Mike Longo (FB)). Less than 24 hours later, it is hard to remember which character was which characterization — so guys, you get lumped together. All were strong and comic in their characterizations, and I particularly enjoyed their choreography in the “High Adventure” number with the well-timed sword-clashes and clinks and the comic moments. They were also strong in their titular number “Babkak, Omar, Aladdin, Kassim”, as well as in “Prince Ali”. They all exhibited great comic timing and movement, and were fun to watch.
The last major named role was JC Montgomery (FB)’s Sultan. His role gets the least character development (not a surprise for Disney and their attitude towards fathers — it is about the same level of characterization as Ariel’s father or Belle’s father): a father who comically cares about his daughter, blind to what is around him, growing a form of a spine at the end to proclaim true love. Still, Montgomery carries the role well.
Rounding out the production was the ensemble and the swings. We had two swings onstage during our show (indicated with §), but I do not know which ensemble members they subbed for, other than the aforementioned Clinton Greenspan (FB). The ensemble and supporting players consisted of (u/s and featured positions noted): Mary Antonini (FB) [Attendant]; Michael Bullard§ (FB) [Swing, Omaru/s, Iagou/s]; Michael Callahan (FB) [Swing, Dance Captain, Iagou/s]; Cornelius Davis (FB); Bobby Daye (FB) [Razoul, Jafaru/s, Sultanu/s]; Lissa DeGuzman (FB) [Swing, Jasmineu/s]; Mathew DeGuzman§ (FB) [Swing]; Olivia Donalson (FB) [Attendant, Fortune Teller]; Michael Everett (FB); Karlee Ferreira (FB) [Swing]; Michael Graceffa (FB) [Shop Owner]; Adrienne Howard (FB); Albert Jennings (FB) [Henchman, Kassimu/s, Omaru/s]; Kenway Hon Wai K. Kua (FB); Jason Scott MacDonald (FB); Angelina Mullins (FB); Celina Nightengale (FB); Jaz Sealey (FB) [Prince Abdullah, Fight Captain, Kassimu/s]; Charles South (FB) [Henchman, Kassimu/s, Babkaku/s]; Manny Stark (FB) [Aladdinu/s]; Annie Wallace (FB) [Attendant, Jasmineu/s]; and Michelle West (FB). Standbys were Korie Lee Blossey (FB) [Genie/Sultan]; Ellis C. Dawson III (FB) [Genie/Babkak]; and Adam Stevenson (FB) [Jafar/Sultan]. In general, the ensemble showed strong dance skills, the ability to change costumes quickly, and seemed to be having a great deal of fun with their roles. I particularly remember Michelle West and Olivia Donalson as having looks that I could match up later. I’ll note that the ensemble has an extremely athletic dance job, so they well deserved the applause.
Brandon O’Neill (FB) was the generic spooky voice. Interestingly, he was the original Kassim on Broadway. Yes, it gets a credit.
Moving from voices to music. Music Supervision was by Michael Kosarin (FB), who also did the incidental music and vocal arrangements. Danny Troob (FB) did the Orchestrations. Glen Kelly did the Dance Music Arrangements. Music was provided by the Aladdin Touring Orchestra combined with local contractors. This orchestra consisted of (T indicates touring): Brent-Alan HuffmanT (FB) [Music Director / Conductor]; Faith SeetooT (FB) [Keyboard2, Asst. Conductor]; Danny TaylorT (FB) [Drums / 2nd Asst. Conductor]; Kathleen Robertson (FB) [Violin]; Larry Greenfield [Concertmaster]; Paula Fehrenbach (FB) [Cello]; Trey Henry (FB) [Bass, Electric Bass]; Dick Mitchell[Flute, Piccolo, Clarinet, Alto Sax]; John Yoakum (FB) [Oboe, English Horn]; Greg Huckins (FB) [Flute, Clarinet, Soprano Sax, Bari Sax]; Wayne Bergeron (FB), Paul Baron (FB), and Rob Schaer (FB) [Trumpet, Flugelhorn]; Andy Martin (FB) [Trombone, Bass Trombone]; Bruce Carver [Percussion]; David Witham (FB) [Keyboard1]; and William Malpede (FB) [Keyboard2 Sub]. Music support was provided by: Howard Joines (FB) [Music Coordinator]; Anixter Rice Music Services (FB) [Music Preparation]; Jeff Marder (FB) [Electronic Music Programming]. Brian Miller was the Orchestra Contractor. The music had a great brassy sound to it and was quite enjoyable. People should read the music credits — these are some top notch studio musicians; we saw many of them playing with Doc Severensen at VPAC.
Finally, we come to the production credits. The scenic design was by Bob Crowley, and was over the top — especially the scenic design during “Friends Like Me”, but the other designs were no slouch either. This was assisted by Jim Steinmeyer (FB)’s Illusion Design and Jeremy Chernick‘s Special Effects Design. This was the first time I’ve seen magnesium based fireworks used IN a theatre — spectacular (and dangerous). Gregg Barnes (FB) did the Costume Design, which was also sequined and spectacular, and at quite a few points, daring in a family way. Milagros Medina-Cerdeira (FB) did the Makeup Design, which was also very strong, although both Jafar and the Sultan looked like they were wearing masks. The sound design by Ken Travis was as clear as it could be for the Pantages; Natasha Katz (FB)’s lighting design established the mood well. Rounding out the production credits were: J. Allen Suddeth (FB) [Original Fight Direction]; Tara Rubin Casting [Casting]; Neuro Tour Physical Therapy Inc [PT]; Geoffrey Quart (FB) / Hudson Theatrical Associates [Technical Supervision / Production Management]; Clifford Schwartz (FB) [Senior Production Supervisor]; Jason Trubitt (FB) [Production Supervisor]; Kate McDoniel [Stage Manager]; Trisha Henson (FB) [Asst. Stage Manager]; and Vanessa Coakley (FB) [Asst. Stage Manager].
Disney’s Aladdin: The Broadway Musical continues at the Hollywood Pantages (FB) through March 31. Tickets are available through the Pantages website. Discount tickets may be available through Goldstar or TodayTix. This is a fun diversion of time with great singing and dancing; the story is Aladdin, so no big surprises there, but it is well fleshed out for a full-length musical.
Pantages 2018-2019 Season. The Pantages will be announcing their 2018-2019 season on January 30th, so what might it be. We already know that Dear Even Hansen, Come From Away, Falsettos, and The Play That Goes Wrong will be going to the Ahmanson Theatre (FB). What does that leave for the Pantages, as they don’t produce their own. Here are my guesses: Bandstand, Anastasia, and Charlie and the Chocolate Factory are highly likely; so is the Miss Saigon revival. So would Groundhog Day, except they just cancelled their tour. If A Bronx Tale had announced a tour, it would also be likely. Ditto for Hello Dolly or . Lesser possibilities are Amazing Grace, or A Night with Janis Joplin. In terms of potential retreads, I could see them bringing in the current Les Miz tour, and possibly the Fiddler on the Roof, Lion King or Wicked tours, if they are still on the road. Also known to be going on tour/on tour, and thus possibilities for retreads, are Cats and Phantom, as they will draw in crowds and haven’t been in LA recently. Natasha, Pierre, and the Great Comet of 1812 has announced a tour, but I think the Pantages is too large for them. I could see them doing the Ahmanson. As for the Ahmanson Theatre (FB), which has two slots to announce, I predict that one will be a show in development, and the other will either be Natasha, Pierre, … , or some form of dance or ballet, like the Matthew Bourne stuff that they’ve done recently.
Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 5 Star Theatricals (FB) [the company formerly known as Cabrillo Music Theatre (FB)], the Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre (FB) in the West Adams district, and a mini-subscription at the Saroya [the venue formerly known as the Valley Performing Arts Center (VPAC)] (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.
This afternoon brought an interesting production of Heathers The Musical at the Hillcrest Center for the Arts, produced by YA4Ever (FB). It closed today; expect that writeup tomorrow. Next weekend currently has no theatre; instead, there is a So Cal Games Day and a Walking Tour of Jewish Boyle Heights. The last weekend of January brings The Pirates of Penzance at The Pasadena Playhouse (FB).
February is busier. It starts with the Cantor’s Concert at Temple Ahavat Shalom (FB). The following weekend brings our first Actors Co-op (FB) production of 2018: A Walk in the Woods. Mid-week brings opera: specifically, Candide at LA Opera (FB). That is followed the next weekend by the first production of the Chromolume Theatre (FB) 2018 season, Dessa Rose. The month concludes with James and the Giant Peach at the Chance Theatre (FB) in the Anaheim Hills, and tickets for Dublin Irish Dance Stepping Out at the Saroya (the venue formerly known as the Valley Performing Arts Center (VPAC)) (FB).
March was supposed to start with the MRJ Man of the Year dinner, but that shifted back a week, so we’ll go to it after our first show in March, the LA Premiere of the musical Allegiance at the Japanese American Cultural and Community Center (FB). This is followed by a HOLD for Steel Pier at the UCLA School of Television, Film, and Theatre (FB). The penultimate Friday of March was to bring Billy Porter singing Richard Rodgers at the Saroya (the venue formerly known as the Valley Performing Arts Center (VPAC)) (FB), but that has shifted to June and that weekend is currently open. The last weekend of March is open for theatre, but there will be the Men of TAS Seder.
April looks to be a busy month. It starts with Love Never Dies at the Hollywood Pantages (FB) [as an aside, there was just a great interview with Glen Slater, the lyricist of that show, on Broadway Bullet that is well worth listening to). The second weekend brings A Man for All Seasons” at Actors Co-op (FB). The third weekend brings The Hunchback of Notre Dame at 5 Star Theatricals (FB) (nee Cabrillo Music Theatre (FB)), as well as our annual visit to the Original Renaissance Faire. The last weekend of April sees us travelling for a show, as we drive up to San Jose to see friends as well as Adrift in Macao at The Tabard Theatre Company (FB). Currently, we’re booking all the way out in mid to late 2018! We may also be adding an Ahmanson Theatre (FB) subscription, given their recent announcements regarding the next season.
As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.