Review: Disney's Aladdin at the West End

2 STARS. Despite some colourful moments and a star turn from Trevor Dion Nicholas as The Genie, this production falls far short of West End expectations says Jane McGowan.

Disney

Trevor Dion Nicholas as The Genie

Aladdin is the latest Disney animated classic to get a musical makeover and a spot in the West End. Following the huge success of Lion King and Beauty and the Beast, Aladdin features all the big numbers from the film including You Ain’t Ever Had a Friend Like Me, Arabian Nights and the Oscar-winning ballad A Whole New World.

Yet despite the showstopping soundtrack, the performance as a whole felt a bit flat. That could be in part to the fact that the show was stopped for a substantial period just a few minutes into the first half owing to technical difficulties or to the fact that in this country as opposed to the US (where it has been playing to packed houses since 2014), we are used to seeing Aladdin as a church hall panto and not a West End spectacular. There were several occasions when I had to resist from shouting: “He’s behind you!”

The show opens with the colourful Arabian Nights, and we are introduced to lovable layabout Aladdin and his three sidekicks (replacing the movie’s Abu the monkey). But again I found myself wondering when we would be get a glimpse of Widow Twanky to liven up proceedings. The first half rumbles along until the arrival of the Genie – exceptionally played by the award-winning Trevor Dion Nicholas who single-handedly saves and steals the show with the fast-paced, eye-popping, You Ain’t Never Had a Friend Like Me. Just like Robin Williams who gave his voice to the Genie in the film, Nicholas totally dominates proceedings and his superb stage presence lifts the entire production whenever he appears.

Disney

The second half starts well with the vibrant Prince Ali, but then proceeds to limp through the story until it comes to an abrupt end when baddie Jafar – now in possession of the lamp and Princess Jasmine - decides that in order to become all powerful he must turn into a genie and becomes trapped in the lamp.

The dance numbers are well executed throughout but are sadly not as impressive as we have come to expect from large-scale musicals. And the confused setting of Agrobah – which seems to be a cross between 19^th-century Singapore and Bollywood, leaves you with an oddly uncomfortable notion of racial stereotyping.

Although this may appeal to die-hard Disney fans, if you are hoping for another Lion King, you will be disappointed.