It is always refreshing to see any performer reveling in a performance. Martin, as the genie, is larger than life in every way. Shortly after this enters the fan-favorite character the genie. Because of this chance encounter, Aladdin runs afoul of the law and becomes beholden to the evil Jafar who helps set him free in exchange for procuring a lamp from a magic cave. Neither knows the the other’s true identity. While traveling through the city incognito, she meets Aladdin and the two immediately fall for each other. Across the city, Princess Jasmine who's being forced by her father the Sultan to marry a prince before her rapidly approaching birthday. Aladdin sees himself as different than his friends in that he has vowed to abandon his criminal past and strive for something better in order to honor his mother’s spirit. The difference here is that Aladdin’s rise is based more on whoever happens to have control of the genie, rather than on any intrinsic quality of the boy.Īladdin and his friends portray themselves as Robin Hood types who steal from the rich and give to the poor-but they themselves are the poor. It's easy to contned that the vast majority of Disney’s output is composed of variations on this same theme. It has the same formula as what we now call the American dream. There are many other discrepancies between the original telling and the modern one (including Aladdin’s genie originating from a ring and not a lamp), but the story of a street urchin rising quickly through the ranks of society and politics remains the same. While the original story is placed in "one of the cities of China," scholars tend to agree that the fictional city of Agrabah is really Baghdad. Added to the book by French translator Antoine Galland sometime between 17, it tells the story of a young man who uses the three wishes granted to him by a genie to woo a princess. It's one of the most popular folk tales from The One Thousand and One Nights, though it's interesting that there is no Arabic original of the stories. The story of Aladdin is very old and has been retold, animated, and filmed countless times throughout the world, most often in Europe, India, China, Japan, and the United States. The story is relatable and succent all the character choices make perfect sense. Having said all that, I found the current touring production of Aladdin to be a runaway smash. Certainly, none of these yardsticks can determine once and for all which is the better show, as it’s not a matter of comparing apples to oranges but rather apples to apples. Both productions have been called saccharine and both walk the tightrope of trying to appeal simultaneously to adults and kids. The Lion King is the third-longest-running Broadway show of all time and has been seen by an estimated 112 million people. It won five times as many Tony Awards and has netted more than double the profit. The Lion King has been a much greater success by a variety of metrics. The productions also share a lyricist in Tim Rice, but other than that they're are quite different. It's no surprise that the Broadway version of Disney’s Aladdin is from the producer of The Lion King. Review: Disney's Aladdin by touring company
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