Aladdin (Clinton Greenspan), the title character in the musical running at the Fox Theatre through Nov. 25, is a charismatic street hustler in the fictional Middle Eastern city of Agrabah. In the company of his pals Babkak (Zach Bencal), Omar (Philippe Arroyo) and Kassim (Jed Feder), he ekes out a meager existence. But he longs for something more.
Could it be magic?
That’s what Aladdin gets when circumstances lead him to liberate the fabulously energetic Genie (Michael James Scott) from a lamp that appears far too small to have ever contained him. Genie promptly offers to grant Aladdin three wishes. The only restrictions are that no one can be killed, or brought back from the dead, or made to fall in love.
Members of the national touring company of "Aladdin." Photo by Deen van Meer
Aladdin is already smitten with Princess Jasmine (Lissa deGuzman), whose sultan dad (Jerald Vincent) insists that she marry a prince. Meanwhile, evilly ambitious royal adviser Jafar (East St. Louis native Jonathan Weir) and his sycophantic sidekick Iago (Jay Paranada) contemplate a power grab.
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Based on the 1992 Disney animated film and with a book by Chad Beguelin, “Aladdin” is a spectacularly entertaining musical with an anything-for-a-laugh spirit and songs that enhance the amiably manic mood.
Directed and choreographed by Casey Nicholaw, it’s the kind of show that doesn’t take itself too seriously, which only makes it that much more delightful. And the score by composer Alan Menken and lyricists Howard Ashman, Tim Rice and Beguelin boasts show-stopping tunes including “Friend Like Me,” “High Adventure” and “Somebody’s Got Your Back.”
Michael James Scott in the national touring company of "Aladdin." Photo by Deen van Meer
Scott, an alumnus of the Conservatory of Theatre Arts program at Webster University, turns in a whirlwind performance as Genie, captivating the audience with his antics. Greenspan and deGuzman make a compelling couple, particularly on the ballad “A Whole New World.” And as Jafar, Weir is the essence of comic malevolence.
Performances aside, the production would be well worth seeing just for the vivid sets by Bob Crowley, which must have required a lot of work and imagination.
“Aladdin” is pure showbiz bliss, and the next best thing to a magic carpet ride.
