Review: ALADDIN, Prince Edward Theatre

Disney's much anticipated musical adaptation of their 1992 cartoon, Aladdin, has made its West End premiere. The show has run on Broadway since 2014 and features several new songs by Alan Menkin, who's known for his work on Little Shop of Horrors and Pocahontas - so audience expectations really were high.

In some ways, this show absolutely delivers. Bob Crowley's set is cartoon-ish yet beautiful, and Natasha Katz's bold lighting design colludes with the overture's orchestration to begin the show on a really exciting note. For those who grew up with the cartoon, Menkin's music, wonderfully arranged by Danny Troob, will provide instant nostalgia, in addition to being a fantastic score in its own right for new, perhaps younger audiences. While some of the musical additions are sickly-sweet, Babkak, Omar, Aladdin, Kassim and High Adventure are amusing and lend themselves well to the stage. Though not as inspired as some of his previous work, Casey Nicholaw's choreography is strong throughout.

All in all, though, this production was far less than it could have been. Disney themselves demonstrated with Lion King that children's theatre can be interesting and needs not patronise, yet this production contains none of the cartoon's sophisticated comedy, mystery or danger, and it only hints at its magic. The script itself is very "Disney Channel"; it is already out of date in its references. Here is a very high-budgeted pantomime. While it is an extremely good pantomime, surely such a talented creative team could have a higher estimation of their audiences' tastes and presented something more imaginative. Something as obvious as puppetry would have solved the conspicuous absence of the camels and peacocks mentioned in the script and lyrics, not to mention the pet tiger and monkey that most 90s children longed for. Instead, the petite Peter Howe plays Iago as a human and the two villains cackle in front of the curtain; one half expects a dame to loom up behind them and shove a pie in their faces.

With such restrictions, the cast had a difficult time, yet Dean John-Wilson was still excellent as Aladdin, showing consistently lovely vocals and an easy, likeable persona; Nathan Amzi, Stephen-Rahman Hughes and Rachid Sabitri suffered through some asinine dialogue, but still managed to create an amusing gang of side-kicks. Trevor Dion Nicholas was a truly funny as the genie, showing impressive vocals and delightful personality, particularly in the first act. This part is both a gift and a huge demand, particularly following the legacy of Robin Williams. Though not as dynamic as Williams - can anyone ever be? - Dion Nicholas's resonant voice and downright cool presence quite justified his travel from the US. Jade Ewen was disappointing as Jasmine; her vocals were weak without being pretty. Also disappointing was the production's attempt at feminism, or perhaps to cash in on feminism's current popularity; the script now reads that Jasmine will "rule beside [Aladdin] "as his equal". This commendable message was somewhat marred by the painfully thin state of almost all the female cast.

Some of the show's better jokes fleetingly referenced other Disney films from the 90s, in such a way that might well go over the head of the casual fan or even a more devoted Disney-phile. This would suggest that part of the target audience is twentysomethings looking to re-experience their childhood, which is beautifully achieved when the carpet finally floats up to Jasmine's room - and the effect is as convincing as a magic carpet ever could be. Atmosphere oozes from the stage and we all marvel at their flight. Otherwise, though, trying to plonk a cartoon onstage doesn't really work. One needs to be more creative than that, and here the production team have wasted the opportunity to innovate, to produce a work of art in its own right.

The best moment of the show was the show's opening line. Full of mystery, Dion Nicholas simply sung the melody, and the fusion of his rich voice and the orchestra really did summon that "far away place". If the creatives perhaps had more confidence in the power of music to transport us and to transcend the seemingly impossible demands of magic and flocks of animals, this show might work. Soon, though, the suddenly glaring lighting and clumsy accents cut through the burgeoning magic, and though some of it really is fun, that's kind of it. The show could have been more.

Aladdin runs at the Prince Edward Theatre until 11 February 2017