I attended "Aladdin" in 2024 with my son. Unlike other musicals, he already knew the story well and quickly pointed out that "Speechless" is not included in the stage version. As we entered the theater, I wondered what Jasmine could sing without that major impact song.

The musical felt much like a Disney spectacular, similar to what you might see at Disney World or Disneyland. The songs were good — really good — and I decided to enjoy the show with a light heart. And it was fun. From the original animation to the live-action movie, many tunes were familiar, and I could even sing along silently to some passages.

Abu was replaced by three friends, which worked surprisingly well. They carried much of the narrative about Aladdin’s background and circumstances and served as comic relief. The early scenes with "Arabian Nights" and "One Jump Ahead" were energetic and entertaining, especially the stealing sequence. I thought the actor playing Aladdin, David Eright, Jr., must have impressive cardiovascular strength to sing while constantly running and moving. He was also attractive and carried himself with pride. The show offered little explanation for Aladdin’s stealing, which made the act more pardonable. I particularly enjoyed "Proud of Your Boy," one of my favorite songs.

The actor who stood out most for me was Don Darryl Rivera, who played Iago. He resembled Peter Pettigrew from the "Harry Potter" films and had a voice reminiscent of a parrot. His comedic timing was perfect. Jasmine, played by Sonya Balsara, looked stunning on stage. Instead of her tiger and palace maid from the films, the stage version featured three maidens who also helped carry the storyline about Jasmine needing to find a prince. I noticed Jasmine opened her mouth very wide while singing — a few days earlier, I had watched Elizabeth Schuyler Hamilton who sang without fully moving her upper lip, making it hard to understand her. Jasmine’s clear diction was a relief.

Jafar and Iago, the villains, were more humorous than menacing. Their conspiracies were more funny than threatening. The transformation of the cave from outside to inside was technically clever. When Aladdin became trapped in the cave and rubbed the lamp — the moment everyone was waiting for — Genie, played by Caleb A. Barnett, made a spectacular entrance by literally jumping out from underground, almost as if propelled by a trampoline. They must have used some spring mechanism beneath the stage.

His number, "Friend Like Me," felt like a Disney theme park show, with the ensemble breaking the fourth wall and performing directly to the audience. The explanation of the three wishes was styled like a TV game show — I think I even heard Genie joking, "Subscribe to Disney Channel and like," which momentarily made me confused. I could hardly believe my ears. Can they really do that? (Of course they can, but still…)

By the end of Act I, my son commented, "This is Genie’s show, not Aladdin’s.“

Act II began with the arrival of Prince Ali of Ababwa, accompanied by a delightful tune. The famous magic carpet ride scene drew gasps and wows from the audience. I tried to spot the mechanism behind the carpet’s movement and later discussed possible explanations with my son. We ruled out several possibilities and came up with a few floating mechanisms that seemed plausible.

The choreographed sword fight was lively and, again, very Disney in style. I appreciated how Genie disappeared and reappeared from the ground with a rotating motion, like a small tornado emerging from the lamp. Jafar’s costume changes and magical disappearance were also fun to watch. Iago’s comedic moment when dragged to the dungeon brought more laughter.

The ending, with Genie’s freedom and the king’s law change, was predictable but satisfying. However, the final magic carpet ride scene provided a fitting and magical conclusion.

While this show is clearly designed for children and families, thanks to its memorable songs and entertaining performances, anyone can enjoy the experience.

While the show felt easy and fun to watch, I was reminded that such seemingly effortless performances are only possible because of the hard work, vocal discipline, and meticulous preparation that Broadway productions demand. I will reflect further on these standards when reviewing the Korean licensed production, where I noticed significant compromises in both staging and vocal quality.