BY: Kamrin Baker
The first scene in Broadway’s “Aladdin,” which stopped by the Orpheum Theater Jan. 16-27, is the bashful presence of the infamous Genie, played by Michael James Scott. He tailors his performance to meet the humor of his audience, holding up a Nebraska Huskers baseball cap, introducing it as the most famous thing from Agrabah, the fictional Middle Eastern city of the Disney classic.
The audience cackles, and he sings. Then, an ensemble cast somersaults in, and the show has truly begun. The 35-piece cast is full of strong voices, but appropriately, Scott’s voice bellows above them all. And his baggy pants? Well, those billow and blow better than any costume gown ever could.
The fascination comes, yes, in the time-honored tale, but more so in the details of live theater. The costumes are stellar, and they make the average audience member, squeezed in an auditorium seat in a tight suit or little black dress, jealous of the pajama-like outfits in which every actor revels. A little research shows a behind the scenes view (https://www.youtube.com/watch?v=skxn4ihGCx0) into each piece; all hand-beaded with over 700 different kinds of beads, and over 1,200 various types of fabrics. The ornate details look effortless and natural, moving in sync with the choreography of each character, and the rainbow of colors is an eye-catching festival of culture and pizazz.
In addition to each sequin, the set and prop design of this show are impeccable. The magic carpet is a magnificent illusion– and staggering to see in person. If there were wires holding it up, the audience couldn’t really see, and if there were harnesses keeping the actors safe, their adventure lost no authenticity. While it is a key moment in the Disney film, and will predictably look well-made as a CGI piece in the live-action movie coming this year, to see two gifted actors (Clinton Greenspan as Aladdin and Lissa deGuzman as Princess Jasmine) climb aboard what seems to be a real magic carpet is astonishing.
Other props, like the shiny genie’s lamp, indoor fireworks, foam food platters, extremely detailed backdrops and sliding hover boards make for a real bang for the buck of a ticket.
The recurring majesty and comedy of Scott’s genie, however, brought the audience to cheers more than any other feature. While every actor got a standing ovation at the end of the show, he was gifted reactions similar to those that might be spotted in the audience of an “Oprah” show. His sassy quips and “Wakanda” references illuminated the stage.
Breaking the fourth wall and embracing his identity as a dominating black man (albeit, one in very blue clothing) allowed for a transcendence of the character and developed into a real symbol of black magic befriended by the show’s other underdog: another poor man of color who just wants to live his truth. There were only a few jokes and references that were a little too stereotypical for me (lots of sassy black woman vibes, a trope that we’ve over-exhausted in the entertainment industry https://everydayfeminism.com/2015/08/4-tired-tropes-misogynoir/), but for the most part, Scott had the comedic timing and resistant personality of a true magical being.
DeGuzman, our fearless Jasmine, was also a force to be reckoned with. It takes the whole show for her to change the minds of every male character, convincing her father to grant her equal rights to the kingdom, no matter whom she chooses to love, which is a big step, considering the show is supposedly set in the 13th century, and we have our doubts about such monarchies in 2019.
Perhaps, though, the namesake hero had the best line of all, crossing lines of reality and fantasy, privilege and poverty: “You should get to have a choice,” he told Jasmine, both of them wistfully angling for their respective freedoms.
If you have a choice, I’d recommend snagging a seat to see “Aladdin” during its national tour, if not for the ease and entertainment of historical fantasies, but for the glee of seeing a whole new world.
