Review: ‘Aladdin’ rides into DC’s National Theatre on a magic carpet
By D.R. Lewis
April 20, 2023
The music of Disney’s Aladdin, playing through April 30 at DC’s National Theatre, has become so ubiquitous since its 1992 film premiere that by the time the knowing audience arrives at each classic (“A Whole New World” and “Friend Like Me” among them), they practically breathe a sigh of relief, as if encountering an old, anticipated friend. It’s that familiarity, and Disney’s well-known commitment to pulling out all the entertaining stops, that makes this national tour a terrific diversion for old and new theatergoers alike.
Under the direction of Casey Nicholaw, who also choreographed the production’s energetic musical numbers, this Aladdin shimmers, glitters, and dazzles. The stage is consistently awash in bold shades of reds, oranges, purples, and blues, complemented by costume designer Gregg Barnes’ rhinestone-studded garments. Natasha Katz’s lighting perfectly captures both the hot desert sun and the intimate romance of a starlit magic carpet ride. Too often, national tours of big-budget musicals are scaled down to maximize cost-effectiveness and, as time goes on, the wear-and-tear of the road becomes evident. That is not the case in this production which, despite its strategic use of detailed drops and large, but simple set pieces, still provides a feast for the eyes.
Part of what makes Aladdin a terrific evening of family entertainment is its simple story: an orphaned street thief encounters a lamp-living genie who grants his wish to become a prince, facilitating his courtship of, and eventual marriage to, a princess. Along the way, the prince learns that most sacred theatrical lesson: to thine ownself be true. The audience’s youngest spectators will enjoy the vibrant action onstage and find value in the focused, fast-paced storytelling this production provides. Their parents, in turn, will delight in the timely jokes and sight-gags (including an early Baby Yoda appearance) which are carefully updated to keep the show current.
Many of those jokes are delivered by the Genie, played here by an extraordinarily talented Marcus M. Martin. A 2020 Baldwin Wallace University graduate, Martin has a surprising command of the stage. He moves so gracefully and easily about the stage, particularly in “Friend Like Me,” that he exudes the confidence of a performer who has enjoyed a performing career twice the length of Martin’s entire life. He channels the Borscht Belt comic energy that was a hallmark of Robin Williams’ virtuosic performance in the film, while lovingly putting his own unique spin on the character. If Aladdin 2: At Liberty, a 2.5 hour one-genie show, was to book a theater tomorrow, I’d be refreshing Telecharge to get a front row seat. Martin’s performance is worth the cost of admission.
He is surrounded by a cast of actors who appropriately steward the beloved material, perpetuating the fantasy for the audience’s most devoted fans while delivering a fresh and uniformly enjoyable experience for the rest. Adi Roy’s playful Aladdin is a rambunctious teen idol whose overconfidence is cut with a sweet desire to make his late mother proud. Senzel Ahmady’s Jasmine is strong and defiant, but willing to be vulnerable. Their starlit magic carpet ride during “A Whole New World” is a highlight. In a departure from the film, Aladdin’s best monkey friend Abu is replaced by three human partners-in-crime (literally): Babkak (Cameron Sirian), Omar (Ben Chavez), and Kassim (Colt Prattes). As a trio, they provide great comic relief from start to finish and are a welcome addition to each scene they fumble into.
Much has been made about the “Disney-fication” of Broadway since Beauty and the Beast first landed in Times Square in 1994. Without litigating the pros and cons of the phenomenon, it’s safe to say that shows like Aladdin are excellent introductory vehicles to live theater, as evidenced by the rapt multigenerational crowd in the audience at the National. It’s surely easier to produce an extravagant production with the full faith and credit of the wealthiest Mouse in the world behind you, but, with any luck, the scores of fresh theatergoers who stood and cheered during Aladdin’s curtain call will return in pursuit of that same, extraordinary feeling they felt at this show. May they pursue it widely and often, at the deep cuts like the Fun Homes, the Sweats, and the Strange Loops, and at those soon-to-be-classics who are still searching for their audience. May they find a whole new world in musical theater.
Disney’s Aladdin plays through April 30, 2023 at the National Theatre, 1321 Pennsylvania Avenue NW, Washington, DC. Music by Alan Menken. Lyrics by Howard Ashman, Tim Rice, and Chad Beguelin. Book by Chad Beguelin. Directed and choreographed by Casey Nicholaw. Tickets can be purchased in person at the box office or by visiting www.broadwayatthenational.com. Running time: 2 hours and 30 minutes, including one intermission.
Marcus M. Martin as Genie with company in Aladdin. Photo by Deen van Meer.