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The would-be predators of the urban jungle in David Mamet’s 1975 American Buffalo are far from apex-level. “It’s barbaric, but hey, it’s home,” sings the genial Genie (a game, charismatic Iglehart) in the opening song, and that’s the tone of Aladdin as a whole: kid-Oriented.Īs in the 1992 film, the Genie steals the show from its eponymous “street rat” hero (Jacobs, white teeth and tan chest agleam). The latest in the toon-tuner line, Aladdin, falls between those poles nearer in style (though inferior in stakes) to Disney’s first effort, Beauty and the Beast, the show is a tricked-out, tourist-family-friendly theme-park attraction, decorated this time in the billowing fabrics of orientalist Arabian fantasy. What do we wish for in a Disney musical? It is unrealistic to expect aesthetic triumph on par with The Lion King, but neither need we settle for blobs of empty action like Tarzan or The Little Mermaid. Reputed highlights include James Monroe Iglehart's bouncy Genie and the flying-carpet F/X. Composer Alan Menken adds new tunes to the 1992 original soundtrack, and Chad Beguelin provides a fresh book. One intermission.ĭisney unveils its latest cartoon-to-musical project: the tale of a boy, an uncorked spirit and an aerodynamic rug. With Adam Jacobs, James Monroe Iglehart, Courtney Reed.
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Book and additional lyrics by Chad Beguelin.