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Disney Digital Forum _ Disney Music _ Aladdin - il musical

Inviato da: veu il 28/9/2010, 23:31

Menken ha intenzione di portare la versione musical del film Aladdin a Broadway...

Lo ha riferito in occasione di un'intervista per l'uscita di Rapunzel...

Dal sito http://www.collider.com/2010/09/27/alan-menken-interview-tangled/:
Intervista a Menken... ecco cosa dice a proposito di questo musical

You are constantly developing something new, including the upcoming theatrical production of The Hunchback of Notre Dame.

Menken: The main things that are going on is Leap of Faith is opening here at the Ahmanson Theatre on October 3rd. That’s my gospel musical. Sister Act is running in London at the Palladium, and coming to Broadway in the spring. So those are my two, big, active projects, and then there is a stage musical of Newsies, Hunchback, and Aladdin all coming.

Inviato da: shaoran-kun il 29/9/2010, 1:34

Beh, ma quindi non si riferisce al musical prodotto a Disneyland?! Intende una produzione tutta nuova, con nuove canzoni oltre a quelle storiche del film? Bene, bene!

Inviato da: Daydreamer il 29/9/2010, 9:18

ma perchè invece a me l'idea non entusiasma più di tanto... dry.gif , certo, quella colonna sonora a teatro farà il botto, so solo io come sono affezionato a A Whole New World, tuttavia io ultimamente ho perso il fascino per le Mille e una Notte, questa è la realtà ... (forse avrei preferito Hercules...)

Inviato da: veu il 29/9/2010, 22:12

CITAZIONE (shaoran-kun @ 29/9/2010, 1:34) *
Beh, ma quindi non si riferisce al musical prodotto a Disneyland?! Intende una produzione tutta nuova, con nuove canzoni oltre a quelle storiche del film? Bene, bene!


No, non è "Aladdin: a musical spectacular" di Disneyland... è proprio un nuovo musical ispirato al film, come ci sono stati La Sirenetta, Il Re Leone e la Bella e la Bestia: Aladdin era l'ultimo di quella tetralogia che la Disney suole definite "epoca d'oro della Rinascita" a non essere ancora stato portato a Broadway... adesso Menken vuol farlo...

Per Hecules, magari lo faranno...ma ricordiamoci che c'è ancora Pocahontas che Menken sognava di realizzare a Broadway subito dopo il Gobbo portato in Germania... vedremo...

intanto godetevi queste news e quando si saprà altro, lo vedremo...

Inviato da: Daydreamer il 4/10/2010, 12:46

dato le critiche contrastanti in USA ancora mi chiedo se a Londra si vedrà mai La Sirenetta...io lo spero tanto...
Sotto quest'aspetto, ossia di rendere "live on stage" il best degli anni '90, beh, allora Aladdin ci vuole proprio...Grazie Veu dell'appunto, in effetti vedrei la cosa da un altro punto di vista wink.gif ...
Non sapevo di Pocahontas! curioso...

Inviato da: veu il 17/11/2010, 22:52

News:

Da http://broadwayworld.com/article/BWW_EXCLUSIVE_Alan_Menken_Talks_TANGLED_SISTER_ACT_LEAP_HUNCHBACK_ALADDIN_More_20101115_page1:

PC: I was just talking to Don Hahn about all the great cut songs you wrote with Howard for ALADDIN. Could you tell me about those?

AM: We're getting them back!

PC: How so?

AM: We're doing a stage musical of ALADDIN and all those songs are going to be in it.

PC: How wonderful! Tell me everything! Who's doing the adaptation with you?

AM: Chad Beguelin wrote the book. He did a fantastic job. He and I also wrote a new song that will be going in, along with a lot of the cut Howard Ashman songs and some of the cut Tim Rice songs, and a song that I wrote music and lyrics for that was in the theatrical adaptation at California Adventure.

PC: That's quite a team, then - you, Ashman, Rice, Beguelin! Will it be substantially different from the film?

AM: It has more of the feeling of a Hope & Crosby road picture - which is what Howard and I originally wanted for the musical. We are going to try it out, hopefully, next summer.

PC: Do you have a design team in place yet? It will be especially important for a stage ALADDIN, I would think.

AM: No, not yet.

PC: It has such great possibilities. It should be good!

AM: Let's hope so! Knock on wood. You never know, you never know.

Inviato da: giagia il 18/11/2010, 21:01

Quindi ci sarà anche To Be Free.... vediamo... interessante questo ripescaggio delle canzoni di Ashman (che ritirino fuori Babkak, Omar e Kassim e la mamma di Al?) non sapevo ci fossero delle canzoni di Tim Rice tagliate...

Inviato da: CheshireCat il 19/11/2010, 0:14

qualcosa tipo la bella e la bestia con nuove canzoni e scenari da paura!speriamo bene

Inviato da: veu il 8/1/2011, 21:00

News:

Il musical Aladdin debutterà quest'estate a Seattle e poi arriverà a Broadway.

Dal sito http://seattletimes.nwsource.com/html/thearts/2013877142_fifthavenue08.html?prmid=head_main:

'Aladdin' coming, 'Oklahoma' postponed, at 5th Avenue in Seattle
5th Avenue Theatre in Seattle gets a Disney deal to stage a premiere of the musical "Aladdin."

The 5th Avenue Theatre has apparently forged a deal with the Walt Disney Company to stage the world premiere of a new Disney musical, "Aladdin," in the summer.

Dates and other specifics have not been set.

A planned July production of Rodgers and Hammerstein's "Oklahoma!" will be postponed until the 2011-12 season, according to an internal 5th Avenue memo obtained by The Seattle Times.

A spokesman for the theater had no comment.

Inviato da: Donald Duck il 8/1/2011, 22:39

Ma no...io volevo vederlo quest'estate a Broadway! cry.gif

Inviato da: giagia il 10/1/2011, 21:26

Calma ragazzi, che dopo The Little Mermaid (che reputo fantastico, anche se privo di un suo stile, e il cui finale poteva benissimo essere fatto meglio) c'è il rischio facciano cavolate, lasciategli tempo per creare un bel prodotto

Inviato da: veu il 18/1/2011, 1:18

Dal sito http://nationaltours.broadwayworld.com/equitylisting.cfm?id=914:

Casting call:

BABKAK – 20s, chubby, romantic desert dweller, part of Aladdin’s band; the “Crosby” of this Arabian “Road” picture, although perhaps with a bit more flair.

OMAR
– 20s, nervous, diminutive desert dweller, part of Aladdin’s band; the “Lamour”.

KASSIM – 20s, tough (inside and out) desert dweller, part of Aladdin’s band; the “Hope”.

ALADDIN – 20s, clever, resourceful street urchin with a heart of gold; best friends with Babkak, Omar and Kassim; seeks a life beyond the confines of poverty.

JASMINE – 20s, intelligent young princess with insight beyond her years and station; seeks a life beyond the confines of privilege.

SULTAN – 50s, kind-hearted, widowed ruler of Agrabah; gets so caught up in following the law and tradition that he overlooks his daughter’s desires and gets swindled by his own vizier .

IAGO – 40s, dim-witted, classic-comedy lackey to Jafar.

GENIE – 30s-40s, quick-witted, fast-talking, ancient genie who knows all time and place; an old-school song-and-dance man.

RAZOUL – stern captain of the Royal Guard.

ENSEMBLE - all shapes and sizes.

Inviato da: shaoran-kun il 18/1/2011, 13:06

E Giagia c'aveva visto giusto su Babkak, Omar e Kassim!

Inviato da: giagia il 18/1/2011, 16:22

EVVAAAAAAAIIIIIIII! Ho sempre sognato di fare la loro conoscenza (e "Babkak, Omar, Aladdin, Kassim" l'ho sempre ritenuta una delle mie canzoni preferite)... (grazie Howard, ancora una volta e ovunque tu sia, grazie wub.gif cry.gif ) Una cosa strana (veu, forse mi potete essere d'aiuto) al casting call manca Jafar, come mai? (che vogliano, primo caso nella storia dei musical Disney, riproporre Freeman essendo lui una leggenda di Broadway?)

Inviato da: veu il 19/1/2011, 0:37

Sai Giagia che anche noi l'abbiamo pensata come te... adesso vediamo di informarci un po'...

Inviato da: giagia il 19/1/2011, 0:39

QUOTE (veu @ 18/1/2011, 23:37) *
Sai Giagia che anche noi l'abbiamo pensata come te... adesso vediamo di informarci un po'...

Come al solito GRAZIE! Siete unici ragazzi! Saluto.gif

Inviato da: Daydreamer il 19/1/2011, 0:48

Ma che Bello tutto questo! ...Grazie veu e Grazie Giagia per il complemento e chiusa di ogni loro news wink.gif

Inviato da: veu il 19/1/2011, 0:54

Grazie a voi che apprezzate le news... grazie davvero!!!

Inviato da: Cenerentolino il 19/1/2011, 0:56

Sarebbe bellissimo ragazzi se potessimo andare tutti insieme a vederlo!

Inviato da: giagia il 19/1/2011, 1:34

Se tra qualche anno approda a Londra ci si potrebbe anche organizzare. New York, almeno per ora, è fuori dalle mie tasche...

Inviato da: Cenerentolino il 19/1/2011, 8:46

CITAZIONE (giagia @ 19/1/2011, 2:34) *
Se tra qualche anno approda a Londra ci si potrebbe anche organizzare. New York, almeno per ora, è fuori dalle mie tasche...

Non parliamo delle mie eheheh.gif eheheh.gif
Anche se come primo show di Broadway avrei voluto vedere Ariel

Inviato da: giagia il 19/1/2011, 10:23

Beh, Shrek è arrivato a Londra, quindi spero che prima o poi lo faccia anche lei. Pur essendo uno stra-mega-extra-super-iper-fansfegatato dei musical ancora non ho visto un musical a Broadway (passai davanti alla 42nd street quando davano The Lion King, ma avendo già passato una giornata a Disneyland USA i miei non vollero sentir ragione, rimediai anni dopo vedendolo a Londra).

Inviato da: Daydreamer il 19/1/2011, 13:53

Giagia se non ti spiace io vorrei saperne di più delle tue opinioni su The Little Mermaid...personalmente ne conosco solo la storia, una canzone che adoro (She's in love) e niente di più...Thank you for sharing

Inviato da: giagia il 19/1/2011, 16:35

Ok Ale, domani scrivo una recensione sul musical di The Little Mermaid. (ora sono un po' incasinato tra lavoro e Glee Night)

Inviato da: Daydreamer il 19/1/2011, 22:42

Grazie!!! flowers2.gif

Inviato da: veu il 23/1/2011, 0:00

News:

Ecco cosa ci è arrivato via email:

Recently LaughingPlace.com shared Broadway World's report that a new stage musical version of Aladdin featuring the songs of Alan Menken, Howard Ashman and Tim Rice was coming to Seattle. Now comes official word that a new Aladdin stage musical featuring all of the beloved songs from the film’s Oscar®-winning score plus never-before heard Menken/Ashman songs restored from early drafts of the score will begin previews on July 7 and runs until July 31, 2011 at The 5th Avenue Theatre. Librettist Chad Beguelin who wrote the books for The Rhythm Club, Wicked City and The Wedding Singer, which made its premiere at The 5th Avenue in 2006 will contribute additional lyrics.

The new Aladdin musical will be a loving homage to the Hope-Crosby road pictures, which was the author's original vision and will feature a score invoking the jazz sounds of stars like Cab Calloway and Fats Waller.

Steve Fickinger, VP Creative Development and Licensing for Disney Theatrical Productions, said, “Responding to extraordinary demand from our licensing customers for a full length, two-act version of Aladdin, Alan Menken brought to us the idea of returning to the highly theatrical vision he and Howard Ashman had originally conceived but that had proved unsuitable for the film. Our goal with this pilot production of Aladdin at The 5th Avenue is to launch this title for inclusion in our innovative professional and regional theatre licensing catalog.”

Tickets for Aladdin are available by calling 206-625-1900/toll-free 888-5TH-4TIX (584-4849), at the box office at 1308 5th Avenue, Seattle, WA 98101, or online at 5thavenue.org.

Inviato da: shaoran-kun il 23/1/2011, 0:17

Non immaginavo che la produzione dello spettacolo fosse a uno stadio così avanzato, sono contentissimo e non vedo l'ora di ascoltare le nuove canzoni. Ogni lavoro di mr Menken merita almeno un'occhiata! Oltretutto, le canzoni dello spettacolo avranno versi composti da 4 autori diversi, sono curiosissimo di vedere quale sarà il risultato finale. Nel frattempo, vado alla ricerca dell'album "A musical spectacular".

Inviato da: Daydreamer il 23/1/2011, 17:51

quoto Shaoran, niente da aggiungere, salvo che sono stra curioso di conoscere il plot...a differenze di La Bella e la Bestia e Aladdin, questa fiaba sarà del tutto stravolta narrativamente rispetto al film e in qualche maniera ci aspetterà tutto un film nuovo...Sono in ansia per conoscere la "I want song" di Jasmine...ho sempre pensato che fosse tristissimo che nel film non ci fosse un assolo per lei, come per tutte le Disney Princess che l'hanno preceduta...Ok che il protagonista è Aladdin, ma che ci posso fà, mi è sempre dispiaciuto...ora finalmente ci sarà di sicuro ed io spero che per lei abbiano composto un pezzo straordinario, tipo "a change in me", da cui ora non posso più prescindere se penso a Belle...anche se è stato concepito solo per il teatro smile.gif ...

Inviato da: giagia il 25/1/2011, 12:30

QUOTE (shaoran-kun @ 22/1/2011, 23:17) *
Nel frattempo, vado alla ricerca dell'album "A musical spectacular".

Andrew, sai già dove trovarlo wink.gif ne riparliamo in mp (invito esteso a tutti gli interessati...)

Ale, penso che come I want song di Jasmine riprendano To Be Free. Non penso invece riprendano "Call Me a Princess" o forse lo faranno in chiave ironica, o cantata da uno dei principi-pretendenti di Jasmine per lamentarsi di lei...

Inviato da: Daydreamer il 25/1/2011, 20:15

QUOTE (giagia @ 25/1/2011, 11:30) *
Andrew, sai già dove trovarlo wink.gif ne riparliamo in mp (invito esteso a tutti gli interessati...)

Ale, penso che come I want song di Jasmine riprendano To Be Free. .


Carina! Grazie, non l'avevo mai sentita prima d'ora...Forse ricorda un pò "Home" / "Casa Mia" di Belle, ma è piacevole...e sicuramente, anche se non te lo chiedo, l'ha scritta Alan Menken immagino...è una sua tipica partitura...

http://www.youtube.com/watch?v=W5_NLFNiq9A&feature=related

Inviato da: Cenerentolino il 25/1/2011, 20:27

CITAZIONE (Daydreamer @ 25/1/2011, 21:15) *
Carina! Grazie, non l'avevo mai sentita prima d'ora...Forse ricorda un pò "Home" / "Casa Mia" di Belle, ma è piacevole...e sicuramente, anche se non te lo chiedo, l'ha scritta Alan Menken immagino...è una sua tipica partitura...

http://www.youtube.com/watch?v=W5_NLFNiq9A&feature=related

Mamma mia che bella "To be free"!!!! blush2.gif blush2.gif blush2.gif

Inviato da: giagia il 25/1/2011, 20:48

Si, To Be Free è di Menken la melodia compare nel film (min 2:00)



e ovviamente è stata inserita nella colonna sonora, appunto con il nome di To Be Free/Essere Liberi



ripresa nel musical di Disneyland si lega benissimo alla canzone che viene dopo, che forse avete sentito da qualche parte...




Inviato da: Daydreamer il 26/1/2011, 13:54

Che Bello! Non potevi introdurcela meglio...Un transfer da un mezzo all'altro magnifico e già ce la sentiamo appartenere...Grassie Giagia ^^

Inviato da: Scissorhands il 17/3/2011, 21:25

http://jimhillmedia.com/editor_in_chief1/b/jim_hill/archive/2011/03/17/tune-thursday-chatting-with-chad-beguelin-about-the-new-stage-version-of-disney-s-quot-aladdin-quot.aspx

Tune Thursday: Chatting with Chad Beguelin about "Disney's Aladdin: The New Stage Musical"
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Jim Hill
17 Mar 2011 11:17 AM

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Chad Beguelin remembers exactly when he decided to become a writer. It was when this Tony-nominated bookwriter & lyricist was 14. And Chad and his Dad had gone to NYC to see a show. And the show that they caught was Howard Ashman & Alan Menken's brilliant musicalization of Roger Corman's schlocky horror comedy, "Little Shop of Horrors."


Ellen Greene & Audrey II in the original off-Broadway production of "Little
Shop of Horrors"

Now jump ahead a few decades. Thanks to the smart story work that he had done on the stage adaptations of Adam Sandler's "The Wedding Singer" and Will Ferrell's "Elf," Beguelin has become Broadway's go-to guy whenever there was a movie that needed to be turned into a musical. Which is why Disney Theatrical reached out to Chad and asked : "Would you be interested in adapting Disney's animated feature, 'Aladdin' for the stage?"

Mind you, this wasn't because Disney Theatrical was seriously thinking about bringing "Aladdin" to Broadway. But - rather - because the Mouse wanted to create a stage version of this Academy Award-winning film which it could then license to regional theaters, for international production, etc. A show that adults could actually perform & appear in, rather than "Aladdin. Jr.," that for-kids-only version which Music Theatre International licenses.

But for Beguelin ... Given that he credits "Little Shop" with being the reason that Chad wound up in show business, being given the chance to adapt one of Ashman & Menken's animated features to the stage was like a dream come true. So Beguelin immediately said "Yes" to this assignment.


Copyright Disney Enterprises, Inc. All rights reserved

But wait. This story gets better. As Chad recounted on the phone yesterday when we chatted about "Disney's Aladdin: The New Stage Musical" -- the two-act stage musical adaptation of this Academy Award-winning animated feature, which will have its world-premiere at Seattle's 5th Avenue Theatre this July ...

"So I met with Alan Menken. And he basically gave me his blessing for adapting 'Aladdin' to the stage," Beguelin recalled. "But then he said 'Wouldn't it be great if - as part of this stage version -- you could then incorporate some of the songs that Howard and I originally wrote for this film that wound up getting cut?"

And from that moment, the development of a stage adaptation of Disney's "Aladdin" took a very interesting turn. As Menken went back into his files and then out pulled all of Ashman's hand-written lyrics & notes for this project.


Howard Ashman actually played the character of Aladdin in a Children's Theatre
Association Production of this story back in 1965. He's the one in the arms of
the chorus in the picture above

"As Alan handed this material to me, he joked that it came with authentic 80's smell," Chad continued. "And as I looked through the pile, there was this wealth of material. Bridges & additional verses for 'Arabian Nights.' An extended opening for 'Prince Ali.' Alternate lyrics for 'Friend Like Me' from back when the Genie was more of a Cab Calloway / Fats Waller kind of character, rather than Robin Williams. Plus entire songs that the public had never heard before"

Which got Beguelin wondering. Given that - when you're turning a movie into a musical -- you never want to plop an exact copy of that film up there on stage. You always want to enhance your original source material. Give the audience something new to see & experience.

And given that Alan had just offered up this wealth of material that he & Howard had originally written for "Aladdin" that hadn't been heard outside of Disney Studios ... Well, what better way was there to enhance & expand the stage version of this animated feature than by folding in all of these cut songs and story ideas?


(L to R) Alan Menken and Howard Ashman during the days that they worked together for
Walt Disney Animation Studios. Copyright Disney Enterprises, Inc. All rights reserved

Of course, there were some drawbacks with Chad's plan. In order to properly accommodate this material, that meant bumping out the borders of this project quite a bit. Deliberately stepping away from the story of that film and then doing things like giving Aladdin a trio of street-smart friends -- Omar, Babkak and Kassim - to hang out with. Would the audiences in Seattle be accepting of a stage version of Disney's "Aladdin" that differed so significantly from the animated feature?

"And then there was the question of how far we should actually go back with all of this cut material?," Beguelin asked. "I mean, do we go all the way back to that version of 'Aladdin' which Howard & Alan created where Jasmine was a spoiled brat and Aladdin's real love interest for theat movie turns out to be Abby, that good-hearted common girl from the marketplace? How far was too far?"

So striking just the right balance between the old material (i.e. the songs & storyline of the 1992 animated feature) and the new material (i.e. the musical numbers and story ideas that were discarded while "Aladdin" made its way through Walt Disney Animation Studio's development process) was going to be a real challenge for Chad. Especially since Beguelin wanted to fold in some of that Bob Hope / Bing Crosby "Road" picture flavor that Ashman had originally hoped would be a key ingredient of the animated version of "Aladdin."


Copyright Paramount Pictures. All rights reserved

"We even talked about using a story concept that Howard had explored in the early, early days of this production. In that version of 'Aladdin,' there were actually two genies: the genie of the ring and the genie of the lamp," Chad said. "But in the end, we thought that story idea was straying a bit too far away from the animated version of 'Aladdin.' Which is why we ultimately dropped it."

But all along the way, the folks of Disney Theatrical were incredibly supportive of Beguelin's vision for a stage version of "Aladdin." They were very enthusiastic about a production that somehow mix the familiar songs of the film with these seldom-heard numbers from Ashman & Menken's trunk.

"Of course, the best part was - whenever Casey (Nicholaw, the director of "Disney's Aladdin: The New Stage Musical." Who's probably best known for his choreography on "Spamalot" and his direction of "The Drowsy Chaperone") and I got stuck, we could always turn to Alan. Who was in the room with Howard when a lot of this material was originally written," Chad continued. "So he could then tell us about what Howard's original intent for this material was, where a cut song was supposed to have fit in 'Aladdin' 's storyline, how a certain story arc for a particular character was supposed to have paid off. Alan's been a terrific and supportive collaborator throughout all of this."


Copyright Disney Enterprises, Inc. All rights reserved

So which songs are actually going to wind up in the stage version of "Aladdin"? Take - for example -- "To Be Free." Will that song -- which Alan Menken & Tim Rice wrote for "Disney's Aladdin: A Musical Spectacular" (Which opened at the Hyperion Theater back in January of 2003 and continues to be performed several times daily at Disney California Adventure theme park) be included as part of this nre stage show? Beguelin was pretty cagey when it came to that question.

"To be honest, we're still in the middle of casting. We won't actually be beginning rehearsals 'til May. So until we get the show up on its feet, I can't really tell you which songs will or will not be in the stage version of 'Aladdin.' " Chad stated. "It's a pretty fluid situation right now."

But that said, Beguelin was very enthusiastic about what he heard and saw at "Aladdin" 's most-recent staged reading, which held back in October.


Copyright Disney Enterprises, Inc. All rights reserved

"It's one thing to hear Howard Ashman's demos for all of these cut songs and think about how wonderful these numbers might be on the stage. But to then hear 20 people sing this beautiful Michael Kosarin arrangements of these same songs with all of their harmonies, that's when you realize that you've got something special here," Chad said.

But as exciting as all of this new material may be, as the guy who's actually adapting "Aladdin" to the stage, Beguelin always has to act as the audience's advocate. Making sure that this two-act stage musical doesn't play too fast & loose with the characters, story, songs and settings that people haved come to know & love through Disney's animated feature.

"That's why we're playing the romance of Aladdin & Jasmine straight and sincere," Chad explained. "That's an aspect of the movie that people really love. So we're not messing with that. Likewise that moment when Aladdin gives up his one chance at happiness to win the Genie's freedom. That's a scene that audiences are really looking forward to seeing being played out on stage. So we're preserving all of the heart and the emotion of that moment from the movie."


Copyright Disney Enterprises, Inc. All rights reserved

But don't go into the stage version of "Aladdin" and then expect to see some name performer doing their Robin Williams impression in the role of the Genie.

"We're casting the best possible performers for this show. Really talented people. Which is why we won't then be asking them to do impressions of characters from an animated film," Beguelin said. "The Genie in the stage version of 'Aladdin' is actually a return to Howard Ashman's original concept for this character. Which means that he's more of a Cab Calloway / Fats Waller kind of performer. Rather than what Robin Williams did with this character."

As to how the story of this much-beloved Disney animated feature will actually play out on stage ... Well, again Chad didn't want to give too much away.


Copyright Disney Enterprises, Inc. All rights reserved

"Here's one spoiler, though. The first act ends with Aladdin's transformation into Prince Ali. Which means that the second act begins with 'Prince Ali.' And Casey 's got some terrific ideas about how he's going to bring that musical number to life on stage," Beguelin concluded.

And if you'd like to see if Chad and friends actually succeed in their quest to mix the old and the new. Taking what people already loved about the animated version of "Aladdin" and then enhancing that, creating this whole new world ... er ... stage show by incorporating all of these cut songs and story ideas from Alan Menken's files ... Well, then you might want to make plans now to catch "Disney's Aladdin: The New Stage Musical." Which will have its world-premiere in Seattle this Summer and then run at the 5th Avenue Theatre July 7 - 31st.

Your thoughts?

Inviato da: Daydreamer il 18/3/2011, 0:42

Magnifico! Non sapevo che esistesse un doppio love interest per Aladdin! Abby e Jasmine, con la prima una ragazza comune del mercato e la seconda una principessa vanitosa e arrogante ohmy.gif e che ci fossero, come nella fiaba classica, due geni, quello dell'anello e quello della lampada!!

Ecco il sito ufficiale del musical per chi volesse seguirne gli aggiornamenti

http://www.5thavenue.org/show/aladdin1011/default.aspx


Inviato da: veu il 8/5/2011, 21:42

News:

Playbill ha confermato che Jonathan Freeman sarà Jafar.

Inviato da: PrincessMononoke il 8/5/2011, 22:47

Si preannuncia una storia molto più complessa e ricca di personaggi *-*

Inviato da: veu il 31/5/2011, 23:31

News:

Adam Jacobs sarà Aladdin nella prossima produzione di Seattle Aladdin The New Stage Musical.

Dal suo website:

"Adam is currently rehearsing for the world premiere of Aladdin as the title character at Seattle’s 5th Avenue Theater! Show runs 7/7 through 7/31."

Adam has just finished playing Simba in the national tour of The Lion King (a role he will go back to on Broadway in August), which means this guy can really sing!

I think he really looks the part, and he sounds good in the few youtube videos I could find.

Broadway World's messageboards have also mentioned Courtney Reed as Princess Jasmine, James Monroe Iglehart as Genie and Andrew Kennan-Bolger is believed to be Omar

Inviato da: veu il 1/6/2011, 22:46

News:

Da http://broadwayworld.com/article/Full-Cast-Announced-for-ALADDIN-in-Seattle-20110601:


Full Cast Announced for Disney's ALADDIN in Seattle!

The 5th Avenue Theatre is thrilled to announce casting for the highly anticipated premiere of Disney's Aladdin, a new stage musical. The show will feature Adam Jacobs and Courtney Reed as Aladdin and Jasmine, James Monroe Iglehart as the Genie, and Seattle mainstay Seán G. Griffin as the Sultan. Jonathan Freeman takes the stage to embody the role he originally voiced for the film, the Royal Vizier Jafar. He is joined by comedic favorite Don Darryl Rivera as Iago. Aladdin restores a trio of characters originally conceived by the film's creators: Omar, Babkak, and Kassim, played by Andrew Keenan-Bolger, Brian Gonzales, and Brandon O'Neill, respectively. Broadway's Casey Nicholaw will direct. With book by Chad Beguelin and hit songs including "Friend Like Me," "Prince Ali," and the Oscar®-winning "A Whole New World" by Alan Menken, Howard Ashman and Tim Rice, Aladdin will enchant audiences of all ages.

Aladdin plays July 7-July 31 (press opening July 21) at The 5th Avenue Theatre (1308 5th Avenue, Seattle.) For tickets and information, the public may visit www.5thavenue.org, or call the box office at (206) 625-1900. Tickets may also be purchased at 888-5TH-4TIX (584-4849).

"We are delighted to be partnering with The 5th Avenue Theatre on this thrilling new full-length stage version of Aladdin," said Thomas Schumacher, Producer and President Disney Theatrical Productions. "The 5th has proven itself a loving birthplace for new American musicals and they are the perfect partner for exploring the dynamic original vision of Aladdin's two creators, Howard Ashman and Alan Menken, in collaboration with some of some of the most astute audiences in the nation."

This new stage version of Aladdin incorporates all of the beloved songs from the film's Oscar®-winning score plus never-before-heard Menken/Ashman songs restored from early drafts of the film. It marks a return to the authors' original vision: a loving homage to the Hope-Crosby road pictures with a score invoking the jazz sound of stars like Cab Calloway and Fats Waller.

"New musicals have become a large part of the mission of The 5th Avenue Theatre and we are thrilled that Disney has selected our theatre to produce the premiere of this new work," says The 5th Avenue's Executive Producer and Artistic Director David Armstrong, adding, "I am especially thrilled to have Casey Nicholaw back at The 5th where his amazing career first got started."

Direct from the sensational Broadway hit The Book of Mormon for which he has received a Tony® Award nomination for Best Director, acclaimed director and choreographer Casey Nicholaw returns to the place where it all began: The 5th Avenue Theatre. He received his first professional gig as choreographer at The 5th Avenue Theatre on The Prince and the Pauper in 2001. On Broadway, Nicholaw has won praise as the choreographer of Spamalot, and as director/choreographer of The Drowsy Chaperone and Elf: The Broadway Musical, garnering three additional Tony® nominations for his work.

Nicholaw's additional New York credits include stagings of Anyone Can Whistle and Follies (direction/choreography), Bye Bye Birdie (choreography) and Can-Can (musical staging) at City Center Encores!; Candide starring Patti LuPone and Kristin Chenoweth at the New York Philharmonic; and South Pacific at Carnegie Hall with Reba McIntyre and Brian Stokes Mitchell (also on PBS Great Performances). He directed and choreographed the world premieres of Minsky's at Center Theater Group and Robin and the 7 Hoods at The Old Globe.

Broadway veteran Jonathan Freeman joins the cast to play one of Disney's most celebrated villains, Jafar, the role he originated in the Disney film Aladdin. In addition to his celebrated role in the film, he has appeared in nearly every Disney Theatrical Productions Broadway show, playing Grimsby in the original cast of The Little Mermaid, Cogsworth in Beauty and the Beast, and Admiral Boom/Bank Chairman in Mary Poppins. He makes his first appearance at The 5th in Aladdin.

"I am so thrilled that Jonathan will make his 5th Avenue debut in this production," Armstrong says. "He is one of the greatest character actors in Broadway history, and I think audiences will be fascinated to see him play live on-stage the role that he created in the animated film."

Freeman received a Tony® Award nomination for Best Featured Actor in a Musical for his turn as the Headwaiter in She Loves Me. His other Broadway credits include Roger De Bris in The Producers, Bert Barry in 42nd Street, Pitkin W. Bridgework in On the Town, and Mr. Bratt in the 1996 revival of How to Succeed in Business Without Really Trying. Freeman has also been seen Off-Broadway at City Center Encores, Primary Stages, Carnegie Hall, The Public Theatre, and many others. He has performed around the country in such prestigious houses as Seattle Repertory Theater, La Jolla Playhouse, Houston Grand Opera, and Williamstown Theater Festival, to name a few.

James Monroe Iglehart will temporarily depart the Broadway cast of Memphis to play the Genie in a jazzy reinvention of the character consistent with Alan Menken and Howard Ashman's original vision. Iglehart has been wildly popular as "Big Love" singer Bobby in the Tony® Award-winning Memphis, a role he originated in the world premiere and pre-Broadway engagement at The 5th Avenue Theatre. Iglehart was featured in the original cast of The 25th Annual Putnam County Spelling Bee as Mitch Mahoney and played The Cowardly Lion in The Wiz at City Center Encores! opposite Ashanti as Dorothy and Orlando Jones as The Wiz.

Aladdin introduces Seattle to two rising stars in the roles of Aladdin and Jasmine: Adam Jacobs and Courtney Reed. Jacobs will join rehearsals direct from the national tour of Disney's The Lion King where he is currently playing Simba. Jacobs has also toured the country in productions of Mamma Mia! and Les Misérables. On Broadway he has performed as Marius in Les Misérables at the Broadhurst Theater. Courtney Reed recently finished a run as Carla in Broadway's In the Heights, and has also performed in Broadway's Mamma Mia!

Returning to The 5th Avenue Theatre stage is Seán G. Griffin as the lovable Sultan, Jasmine's father. Griffin has performed at The 5th Avenue Theatre in musicals including Mame, West Side Story, The Wizard of Oz, and My Fair Lady. A mainstay of the Seattle theater scene, Griffin has been seen most recently in Of Mice and Men at Seattle Rep and The Lieutenant of Inishmore at ACT Theatre. He performs regularly as Ebenezer Scrooge in ACT's A Christmas Carol, and has also performed locally at Intiman Theatre and Seattle Children's Theatre. He has appeared on Broadway in Dancing at Lughnasa, Ned and Jack, The National Health, Ah! Wilderness, Poor Murderers, and The Queen and the Rebels, in addition to guest star appearances on a variety of television shows including Ally McBeal, E.R., Malcolm in the Middle, Northern Exposure, Murder She Wrote, and many more.

Joining the cast as Jafar's wily sidekick Iago is Seattle's Don Darryl Rivera. Rivera was most recently seen at Teatro Zinzani in Zirkus Fantasmo and has appeared in numerous productions at the internationally acclaimed Seattle Children's Theatre including The Brementown Musicians, If You Give a Mouse a Cookie, and Busytown. Rivera has also appeared at Centerstage Theatre, Seattle Shakespeare Company, and Strawberry Theatre Workshop.

The new stage version of Aladdin restores from the film's early drafts a trio of characters who act both as narrators and as Aladdin's band of street rat friends: Kassim, Omar, and Babkak. Fresh from his acclaimed performance as Sky Masterson in The 5th's Guys and Dolls, Brandon O'Neill originates the role of Kassim. A regular at The 5th, O'Neill has been seen previously in My Funny Valentine, A Christmas Story, Candide, Joseph and the Amazing Technicolor Dream Coat, Cabaret, Buddy, Wonderful Town, Miss Saigon, Sweeney Todd, Smokey Joe's Cafe, and The Rocky Horror Show. Babkak is portrayed by Brian Gonzales, who played Barfee both on Broadway and in the national tour of The 25th Annual Putnam County Spelling Bee. He has performed around the country in such prestigious houses as Lyric Stage Company, Dallas Theatre Centre, Gulfshore Playhouse, and others. Andrew Keenan-Bolger plays the role of Omar. Keenan-Bolger was seen most recently both on Broadway and in the first national tour of Disney and Cameron Mackintosh's Mary Poppins. He performed the role of Leaf Coneybear in the first national tour of The 25th Annual Putnam County Spelling Bee, Jojo in the original Broadway cast of Seussical, Chip in Broadway's Beauty and the Beast, and Young Max in the first national tour of The Grinch.


Rounding out the ensemble are Tia Altinay, Kristin Culp, Nick DeSantis, Ronald Duncan, C.J. Eldred, Daisy Hobbs, David Janett, Kenway Hon Wai K. Kua, Nikki Long, Stanley Martin, Creighton Oliver, Shanna Marie Palmer, Bobby Pestka, Connor Russell, Manuel Santos, Allysa Shorte, Daniel J. Watts, and Matt Wolfe.

Music for Aladdin is by Alan Menken (Beauty and the Beast, The Little Mermaid, Tangled), who has won a total of eight Oscars®, more than any living person. Lyrics are by the late Howard Ashman (Little Shop of Horrors, Beauty and the Beast, The Little Mermaid) and Tim Rice (Jesus Christ Superstar, Chess, The Lion King). Aladdin librettist Chad Beguelin also wrote the books for The Rhythm Club, Wicked City and The Wedding Singer, which premiered at The 5th Avenue in 2006. Menken and Beguelin contribute additional lyrics.


Production artists include set designer Anna Louizos (White Christmas, In The Heights), Tony® Award-winning costume designer Gregg Barnes (The Drowsy Chaperone, Mame at The 5th Avenue), Tony® Award-winning lighting designer Natasha Katz (Beauty and the Beast, Aida), dance arranger Glen Kelly (The Producers, Drowsy Chaperone) and musical supervisor Michael Kosarin (Beauty and the Beast, Sister Act).

Steve Fickinger, VP Creative Development and Licensing for Disney Theatrical Productions, said, "Alan Menken brought to us the idea of returning to the highly theatrical vision he and Howard Ashman had originally conceived but that had proved unsuitable for the film. Our goal with this pilot production of Aladdin at The 5th Avenue is to launch this title for inclusion in our innovative professional and regional theater licensing catalog."

The animated film Aladdin was released by Disney in 1992 and was a critical and box office smash, grossing over $504 million worldwide and becoming the highest-grossing film of the year. Adapted from Arabian folktales and the famous "One Thousand and One Nights," Aladdin tells the story of a resourceful young man who dares to woo a princess with the help of an all-powerful Genie. The film introduced the hit songs "Friend Like Me" and "A Whole New World," which won one of the film's two Academy Awards® as Best Original Song. Part of the "Disney Renaissance" that began with 1989's The Little Mermaid, the film Aladdin was praised for its witty script and tuneful, eclectic score.


Inviato da: veu il 5/6/2011, 15:01

News:

Dal blog http://aladdinmusical.blogspot.com/2011/06/oh-ye-people-of-agrabah.html

Prima immagine di Adam Jacobs nei panni di Aladdin:




E qui sotto gli altri interpreti del musical:

http://aladdinmusical.blogspot.com/2011/06/oh-ye-people-of-agrabah.html


Inviato da: Arancina22 il 5/6/2011, 19:48

Che bella l'interprete di Jasmine! clapclap.gif

Inviato da: warhol_84 il 6/6/2011, 13:35

Adam Jacobs mi piace tantissimo come interprete di Aladdin! eheheh.gif
Jonathan Freeman non è un po' troppo vecchio e un po' troppo...come dire....bianco per essere Jafar? Non voglio dire che sia totalmente "fuori parte", anche perchè è LUI Jafar, almeno vocalmente. Ma in un musical si deve avere anche il fisico per il ruolo...e mi sembra che lui non ce l'abbia, nonostante sia un grande performer.

Inviato da: warhol_84 il 21/7/2011, 20:27

To Be Free purtroppo non è fra le canzoni incluse nel Musical Disney che ormai ha debuttato da quasi un mese e sta andando alla grande.
Questo è un nuovo duetto per Aladdin e Jasmine...fa parte delle tantissime canzoni che Alan Menken ha scritto o ripreso dalle canzoni scartate dal film appositamente per questa produzione...fra cui Proud Of Your Boy:

http://www.youtube.com/watch?v=_kYo7-iqjxg&feature=player_embedded

Inviato da: buffyfan il 21/7/2011, 22:11

http://www.youtube.com/watch?v=Oc6qO9p2538 cantata dai due protagonisti, Adam Jacobs e Courtney Reed!!!!! happy.gif
Chissà se la Stage deciderà di portarlo in Europa! shifty.gif Io scommetto di si, magari in Germania! biggrin.gif

Inviato da: warhol_84 il 21/7/2011, 22:29

Sono certo che prima vedremo La Sirenetta in Olanda e poi da noi...e poi ancora deve debuttare a Broadway! Vedremo unsure.gif

Inviato da: giagia il 23/7/2011, 18:15

Jonathan Freeman is Jafar ... LO SAAAAAAAAAAPEVOOOOOOOOO! Sono felicissimo! Che vi dissi mesi fa? Dopotutto Jonathan Freeman aveva un conto in sospeso con Aladdin avendo interpretato solo Prince Ali (Reprise) nel film mentre come Jafar aveva fatto numerose demo. Ora potrà cantare al pubblico le canzoni che il pubblico nel '92 non potè sentire... bella soddisfazione biggrin.gif Io non mi preoccuperei troppo dell'aspetto fisico, il makeup e un/a bravo/a costumista possono fare miracoli... ed il connubio con Don Darryl Iago Rivera è praticamente perfetto!!!

Inviato da: giagia il 3/8/2011, 14:46

Su Playbill.com Don Darryl Rivera (interprete di Iago) ha pubblicato un po' di foto, eccovele qui










e ancora, apparse su playbill.com








Due immagini tratte da Aladdin: A Musical Spectacular (in scena a Disnyland USA dal 2003) per fare un confronto




Commenti a caldo sui personaggi:

Babkak, Omar e Cassim. Riprendono il ruolo che avevano nella versione preliminare di comprimari di Aladdin, Abu scompare dalla scena (ironia della sorte Courtney Reed, l'attuale Jasimne, aveva proprio interpretato la scimmietta quando era bambina per una rappresentazione teatrale non ufficiale di Aladdin)

Genio: COSA? NON è BLU? e vabbeh, è molto più vicino alla versione de Le Mille e una Notte, James Monroe Iglehart ricorda decisamente Rex Ingram ne Il Lado di Baghdad e allo stesso tempo appartiene all'etnia di cantanti come Cab Calloway e Fats Waller che hanno creato lo stile musicale del genio. Non vedo l'ora di vedere un video in cui canta Friends Like Me e Prince Ali.

Jasmine: ancora più sensuale della Jasmine animata, Courtney Reed aggiunge a Jasmine un tocco di Sherazade, già ha vinto il mio cuore.

Jafar: anche lui molto più in linea con Le Mille e una Notte che con l'Aladdin disneyano, ma niente ha da invidiare ai diversi Jafar che si sono succeduto in Aladdin, A Musical Spectacular.

Sultano: evidentemente alla Disney hanno deciso che il Sultano doveva essere alto almeno quanto Jasmine. Seán G. Griffin è totalmente diverso dalla versione animata e ancora una volta, molto vicino iconograficamente ai sultani de Le Mille e Una Notte. Mi chiedo se canterà.

Iago: mi ha molto sorpreso il fatto di vederlo completamente umanizzato. Le parvenze di pappagallo sono rimaste solo nelle piume del cappello e nel colore della tunica. Forse con l'umanizzazione di Abu nei tre comprimari anche lui è stato umanizzato. Molto particolare se si pensa che in Aladdin: A Musical Spectuacular l'espediente di creare un pappagallo che fosse apoggiato al polso dell'attore era stato ripreso da Zazu di The Lion King (il musical di Broadway) in cui Zazu era anche lui un burattino poggiato sul polso dell'attore. In questo caso mi devo dire non soddisfatto della scelta, ma aspetto di vedere la resa definitiva.

Aladdin:

Sempre continuando a parlare di The Lion King pochi sanno che prima d'interpretare Aladdin, Adam Jacobs è stato un altro protagonista disneyano su palco. Se l'Aladdin di Disneyland aveva reso giustizia alle origini asiatiche della fiaba di Aladino, Jacobs è un Aladdin molto più in stile Bolliwood. Se c'è una cosa bella da dire su questo protagonista è che le interpretazioni che gli possono essere date sono praticamente infinite.


Inviato da: Fulvio84 il 3/8/2011, 15:34

jasmine e' notevole!

Inviato da: vale274 il 3/8/2011, 16:19

Ammazza Aladdin! mf_dribble.gif
Jasmine invece.. thumbdown.gif

Inviato da: Cenerentolino il 19/8/2011, 9:09

Al in versione "street-rat" non mi piace proprio not.gif mentre sta abbastanza bene come Principe happy.gif
Jasmine bellissima....JAFAR!!!!!!!!!!!!!!!! worshippy.gif worshippy.gif worshippy.gif worshippy.gif Innamorato.gif Innamorato.gif Innamorato.gif Innamorato.gif

Inviato da: Beast il 14/8/2012, 12:52

Al Destination D Alan Menken ha lasciato intendere che il musical di Aladdin sbarcherà a Broadway!

REPORT: ALAN MENKEN SAYS ‘ALADDIN’ HEADING TO BROADWAY

Last night, Alan Menken held an intimate performance as part of the ‘Destination D’ event at the Disneyland Resort, held by Disney D23, the official fan club of The Walt Disney Company (NYSE:DIS). After wowing the attending crowd with music from decades of his Tony, Grammy and Oscar-winning career (he holds the record for having the most Oscars (living)), he closed the show with ‘Proud of Your Boy,’ a song that was intended for the original 1992 film, but was cut due to story changes.

It was when introducing the song that Menken mentioned the musical is currently being tweaked for a Broadway run, according to reports from attendees. A new staged version of the musical was produced by Disney Theatrical and premiered at the 5th Avenue Theatre in Seattle last year, but no aspirations for Broadway were anywhere to be found — at best, a national tour; at worst, licensing to regional theater. Howard Ashman’s sister, Sarah, wrote about the musical on her tribute blog, Part Of Your World, and some of the changes that were incorporated into it that deviate it from the beloved animated film. In addition to ‘Proud of Your Boy,’ three other songs that were initially cut have been reinstated along: Call Me A Princess; High Adventure; and Babkak, Omar, Aladdin, Kassim, which brings along the three non-Aladdin characters with it.

After a brief run at The Muny in July, the musical is now in production at the Tuacahn Amphitheatre in Utah through mid-October and has managed to incorporate the use of 3D glasses for the Cave of Wonders and Genie’s ‘Friend Like Me’ song, courtesy of former Walt Disney Imagineer Geoff Puckett, according to the fan-based Aladdin Musical blog.


Still, prior to last night, there wasn’t so much as an inkling that it would soon find itself on the Great White Way. Actually, an inkling may in fact have been all there was, as a thread on Broadway World points to a cryptic message at the end of a recent video update from 5th Avenue Theatre:


The video, posted on July 27 features David Armstrong, Executive Producer & Artistic Director of ‘Saving Aimee,’ a production that is currently making the Broadway transition. At the end of the video, however, Armstrong indicates that other 5th Avenue productions are about to make the same move and promises updates shortly.


http://www.stitchkingdom.com/disney-aladdin-broadway-21773/

Ecco Menken al piano suonare Proud of your boy per il pubblico del Destination D durante il concerto di chiusura:


Inviato da: warhol_84 il 15/8/2012, 13:56

Ed era l'ora! Visto che Aladdin fra tutti i titoli Disney insieme a La bella e La Bestia e Hercules è proprio quello dal sapore più broadwaiano...invece di quegli aborti della Sirenetta e Tarzan! Certo, secondo me, dovranno fare molta molta attenzione a trovare una regia innovativa e che non diventi una pacchianata col il tappeto che vola con i fili appesi....non se ne può più di gente che svolazza appesa ai fili a new york. I presupposti per un top musical a la Wicked ci sono tutti....bisogna vedere se non rovinano tutto.

Inviato da: veu il 5/2/2013, 0:31

Aladdin arriverà a Broadway nel 2014...

Dal sito http://d23.disney.go.com/news/2013/01/disneys-aladdin-a-new-broadway-musical-to-open-at-torontosed-mirvish-theatre-for-nine-weeks-november-2013/:

Disney’s Aladdin, a New Broadway Musical, to Open at Toronto’s Ed Mirvish Theatre for Nine Weeks November 2013

01.25.13 – Disney Theatrical Productions proudly announces that Aladdin, a new musical based on the Academy Award®-winning animated film, will play its pre-Broadway engagement at Toronto’s Ed Mirvish Theatre (formerly the Canon) November 13, 2013, to January 12, 2014, and will open at Broadway’s New Amsterdam Theatre in 2014.



Disney Theatrical Productions proudly announces that Aladdin, a new musical based on the Academy Award®-winning animated film, will play its pre-Broadway engagement at Toronto’s Ed Mirvish Theatre (formerly the Canon) November 13, 2013, to January 12, 2014, and will open at Broadway’s New Amsterdam Theatre in 2014. The show will feature music by Alan Menken; lyrics by the late Howard Ashman, Tim Rice and Chad Beguelin; with a book by Beguelin. Casey Nicholaw will direct and choreograph.

This will be the first staging of this full-length two-act Aladdin. Nicholaw and the writers had previously collaborated on a well-received pilot production of the musical at Seattle’s 5th Avenue Theatre in summer 2011 mounted for a limited run with the goal of trying out new material and structure. Broadway will be an entirely new production featuring a new script, tunestack and a wholly original design scaled to the Broadway stage and an epic story.

Aladdin, adapted from centuries-old Arabian folktales including “One Thousand and One Nights,” will feature a full Broadway score including the five beloved songs from the film.

Aladdin will be designed by six-time Tony®-winning scenic designer Bob Crowley, three-time Tony-winning lighting designer Natasha Katz, two-time Tony-winning costume designer Gregg Barnes and sound designer Ken Travis. The production team also includes illusion designer Jim Steinmeyer and hair designer Josh Marquette. The music team is headed by music supervisor and music director Michael Kosarin, who will also create the vocal and incidental music arrangements, joined by orchestrator Danny Troob and dance music arranger Glen Kelly.

Casting, Broadway dates and ticket information for both Toronto and Broadway will be announced at a later date. To receive news about Aladdin in the coming months, please sign up for email alerts at aladdinbroadway.com.



Sito Ufficiale:

http://www.aladdinbroadway.com/



Inviato da: veu il 14/2/2013, 0:22

Dal sito http://www.playbill.com/news/article/174980-Junior-Theater-Festival-2013-Alan-Menken-Reveals-Aladdin-Broadway-Details-and-Talks-About-the-Power-of-Newsies-Fans:

So we have "Proud of Your Boy," a number that Aladdin was originally to sing in the movie to his mother directly, but now it's to his mother in heaven. There's a number "Babkak, Omar, Aladdin and Kassim," which is kind of the friends' Vaudeville number that they do in the streets of Agrabah. There's a song called "High Adventure," where they perform a rescue at the end of Act Two, which is so much fun. It's one of those numbers I was dying to see on stage. There's "Call Me Princess" for Princess Jasmine, which was a real early throw-away, but we were able to make use of that thanks to my new collaboration with Chad Beguelin, who wrote the book.

He was brilliant in finding ways to adapt songs we had originally written into the new book, and we also wrote three new songs together with him as my lyricist. We wrote one new song for the Genie, one new song for Jafar and a new duet for Aladdin and Jasmine — and we still have all the original songs from Howard Ashman and Tim Rice from the film. So much creative energy has gone into this new Aladdin, I love it. We had a production in Seattle that was one of the highlights of my life and we've even improved it since then.

Inviato da: Daydreamer il 14/2/2013, 17:07

Ottimo ...Non vedo l'ora di ascoltare l'assolo di Jasmine e l'altro duetto con Al ... !! smile.gif

Inviato da: Arancina22 il 31/8/2013, 13:45

Il musical di Aladdin è pronto per aprire a Broadway!
Il debutto sarà a Toronto l'1/11, poi le preview inizieranno dal 26/2/2014 per arrivare alla serata d'apertura ufficiale il 20/3.
Ci saranno ovviamente nuove canzoni, ma anche nuovi personaggi.
Alcune altre info nell'articolo!

http://www.musical.it/index.php?action=index&p=302&n=4245

Saluto.gif

Inviato da: veu il 21/2/2014, 0:46

Primo video del look dei personaggi:

http://www.youtube.com/watch?v=1HJA55UiGQw&app=desktop

Personaggi:

http://aladdinmusical.blogspot.co.uk/2014/02/press-day-for-aladdin.html











Inviato da: Arancina22 il 21/2/2014, 16:50

Che opulenza, che meraviglia!!! Non vedo l'ora!!!

Inviato da: warhol_84 il 21/2/2014, 18:03

JAsmine è semplicemente meravigliosa e Aladdin è stupendo. Ho sempre un po' di perplessità su un Genio non Blu...ma capisco le motivazioni.

Inviato da: Scrooge McDuck il 22/2/2014, 0:49

Dopo aver ricevuto il battesimo del fuoco coi musical Disney, ora ho una voglia matta di vederne altri Innamorato.gif

Chissà se arriverà mai in Europa smile.gif tongue.gif

Inviato da: Filippo il 22/2/2014, 1:02

Speriamo arrivi anche qui. Amo Aladdin e ho sempre desiderato vederne il musical. Qualcuno sa se uscirà il CD con tutte le musiche sta volta? Perchè tempo fa , quando l'hanno fatto a Toronto , non c'è stato mai un Ost .

Inviato da: Arancina22 il 22/2/2014, 2:35

Per la versione di Broadway credo proprio esca sicuramente. smile.gif

Inviato da: Scissorhands il 11/3/2014, 12:04

Ho visto che Aladdin è uscito da due settimane ed è in preview! Sapete come sono state le review? I commenti di utenti di forum NON sono affatto positivi sad.gif

Inviato da: Scrooge McDuck il 11/3/2014, 13:23

CITAZIONE (Scissorhands @ 11/3/2014, 11:04) *
I commenti di utenti di forum NON sono affatto positive sad.gif


Azzz sad.gif

Inviato da: Scissorhands il 21/3/2014, 15:20

Prime recensioni ufficiali... diciamo che poteva essere peggio; credo che anche la critica stessa si sia abituata a questo tipo di produzioni, che altro non sono che dei "bei" carrozzoni (nel senso che sono belli da guardare, divertenti e niente più). Insomma Aladdin sembra non fare eccezione... i turisti saranno contenti smile.gif
Applausi soprattutto per il genio, grande mattatore dello show. Menzioni non particolarmente di merito (ma neanche di demerito) per le nuove canzoni di Menken.

Comunque pare che Iago sia umano e che Abu sia stata sostituita da tre amici di Aladdin. Anche la tigre Raja è stata eliminata.

Variety
http://variety.com/2014/legit/reviews/broadway-review-disney-aladdin-1201140780/
Broadway Review: ‘Disney Aladdin’

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Aladdin reviews Broadway
MARCH 20, 2014 | 06:29PM PT
This super-costly extravaganza doesn't do justice to the movie, or to the spirit of the late Howard Ashman.

Marilyn Stasio
The magic-carpet ride is magical. The Cave of Wonders is wonderful. And yes, you’ll hear the tunes you loved in the 1992 movie. But the notion that “Disney Aladdin” somehow resurrects the spirit of the late Howard Ashman, who had the original inspiration for the movie and contributed most of its clever lyrics, is a joke. Restoring a person’s work without respecting his artistic sensibility is no tribute at all.

If this super-costly Disney extravaganza doesn’t really represent Ashman’s artistic vision, whose vision does it reflect? Chad Beguelin (“Elf,” “The Wedding Singer”), who wrote the book and contributed new lyrics, obviously plays a significant role, as does Alan Menken, who scored the film and wrote new songs for the show. Even more so does helmer-choreographer Casey Nicholaw (“The Book of Mormon”), who stylistically turns the film’s romantic fairy-tale adventure into shtick comedy.

Bob Crowley, a six-time Tony winner (for Disney’s “Aida” and “Mary Poppins,” among others), is likely to pick up another one for imaginative sets that capture both the fun and the storybook wonder of the folk tale. For the eye-popping opening number, “Arabian Nights,” Crowley has designed a colorful marketplace in the kingdom of Agrabah that is visually anchored by revolving setpieces that telescope into whimsical new forms. He uses the same telescoping technique in the Cave of Wonders, where towers of treasure (cast in golden lights by Natasha Katz) await Aladdin.

Working from what looks like a million-plus budget, costumer Gregg Barnes (“Kinky Boots”) makes a dazzling first impression with vibrant colors and graceful silhouettes, and rich materials that are intricately embroidered and elaborately ornamented. But in the spirit of overkill that comes to define the entire production, the costumes become so heavily encrusted with bling, it’s a wonder anyone can move in them.

How thesps carry their costumes is a fair indicator of how they carry their roles. Adam Jacobs, who is young and cute enough to have played Simba the lion cub in “The Lion King,” is a personable performer with a pleasant enough voice to make an appealing Aladdin. He stiffens up in the princely garments of “Prince Ali of Ababwa,” the bogus monarch whose identity Aladdin buys with the first of his three precious wishes, but he unbends and puts his heart into “Proud of Your Boy.” And he’s quite charming in “A Whole New World,” the gorgeous number that takes Aladdin and Princess Jasmine (Courtney Reed, unkindly stuck in a ghastly belly-dancer schmatta) on their magic carpet ride.

The versatile James Monroe Iglehart not only pulls off his garish Genie costume; he practically walks off with the show in “Friend Like Me,” an extremely flashy production number that, at one preview performance, was a bona fide showstopper. When Robin Williams riffed on the same number in the movie, he fooled around with funny voices and celebrity sendups. Iglehart, a big man with a big man’s capacity for play, shows off Genie’s magical powers by turning to the Broadway musical-theater canon — starting with Disney’s own “Beauty and the Beast” and “The Little Mermaid,” and moving on to classic shows like “West Side Story, “A Chorus Line,” and even an “Arabic” interpretation of “Fiddler on the Roof.” The conceit doesn’t say much for choreographic originality, but, hey, it works. And Iglehart sells it.

Other changes to the original material are less successful, especially the contemporary updates to book and lyrics that replace the tone of fairy-tale innocence with show-queen vulgarity. And then there are the variations that are downright disastrous: It was a really bad idea to replace Iago, the sardonic parrot familiar of the evil vizier, Jafar (Jonathan Freeman, as impressive as he was in the film), with an annoying human henchman played by an annoying actor. A worse idea was replacing Abu, Aladdin’s rascal monkey friend, with three of the hero’s dumber-than-dirt slacker pals. As for the cheap jokes sprinkled throughout the book, the most unspeakable one comes in the prologue, when Genie produces a tacky miniature of the Statue of Liberty and excuses himself for “a little pre-show shopping.”

Oh, you don’t mean to say that there might be a profit motive in all this?


Hollywood Reporter
http://www.hollywoodreporter.com/review/aladdin-theater-review-690038
Aladdin: Theater Review

While it doesn't rival the imagination or innovation of "The Lion King," the show's ebullient comic spirit should make it a popular hit.
Venue
New Amsterdam Theatre, New York (runs indefinitely)
Cast
Adam Jacobs, James Monroe Iglehart, Courtney Reed, Jonathan Freeman, Brian Gonzales, Brandon O'Neill, Jonathan Schwartz, Clifton Davis, Don Darryl Rivera
Director-choreographer
Casey Nicholaw
Disney's latest animated movie musical to get a Broadway makeover is the 1992 fairy tale set in a fictional Middle Eastern kingdom, featuring songs by Alan Menken and Howard Ashman.

NEW YORK -- Its exotic Middle Eastern setting and multiethnic cast aside, Aladdin offers less "A Whole New World" -- to quote its signature song -- than a traditional Disney fairy-tale realm; it's perhaps the most old-school of the company's screen-to-stage adaptations since Beauty and the Beast. But that shouldn't deter audiences from making this splashy Arabian Nights wish-fulfillment fantasy into a family-friendly hit. Directed and choreographed by musical comedy specialist Casey Nicholaw with loads of retro showmanship, an unapologetic embrace of casbah kitsch and a heavy accent on shtick, this is sweet, silly fun. It's not the most sophisticated entertainment, but the target demographic won't mind at all.
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The 1992 release followed The Little Mermaid and Beauty and the Beast in Disney's renaissance of the animated feature musical, heralding the valiant final resurgence of hand-drawn toon artistry before computer animation took hold. The film was notable for its shift beyond the princess focus to a more boy-centric story, and for being among the first cases of major celebrity voice casting becoming central to the production's marketing, via Robin Williams' role as the motormouth Genie.
It was also the final collaboration between composer Alan Menken and lyricist Howard Ashman before the latter's death due to AIDS complications in 1991. The team completed eleven songs for Aladdin, only a handful of which made it into the movie; several of the others have found an afterlife here. Tim Rice stepped in to complete work on the film's score with Menken, while Chad Beguelin (The Wedding Singer, Elf), the book writer on this stage adaptation, contributes additional lyrics. Irrespective of who wrote what, the songs are tuneful, if not quite top-drawer.
Nicholaw won a 2011 Tony Award as co-director with Trey Parker of The Book of Mormon. But the most indicative precursor of his work here was his staging of "Show Off," the hilariously insincere disavowal of a Broadway star's natural spotlight-seeking tendencies, performed with brio by Sutton Foster in The Drowsy Chaperone. That same more-is-more, irrepressibly over-the-top shamelessness defines the twin showstoppers that bookend intermission in Aladdin.
The first is "Friend Like Me," in which the Genie (James Monroe Iglehart), freshly uncorked from his lamp, previews the infinite gifts available to his astonished new master, Aladdin (Adam Jacobs). Starting with Iglehart doing a Cab Calloway-esque scat, Nicholaw builds the song into a mammoth production number, with a chorus of whirling valets and showgirls, a "Dancing with the Scimitars" ballroom break, a step or two of hoedown, a game-show interlude, a mini-medley of Disney tunes from other musicals, an exuberant tap routine and a finale with canes and a kickline. While Williams' vocal performance in the movie was quite large, Iglehart's high-energy turn is perhaps even larger, whether he's dropping in winking pop-cultural anachronisms (he quotes Sweet Brown at one point) or firing off hoary one-liners like a Catskills comic. He's a delight.
The follow-up song, again led by the indefatigable Iglehart, is "Prince Ali," a royal procession that makes Elizabeth Taylor's Cleopatra entrance look like a casual stroll. Replete with Vegas-style fan dancers, peacocks and the now-regulation streamer explosion, this takes place after the Genie has transformed Aladdin from street scruff into a regal suitor worthy of Princess Jasmine (Courtney Reed), the feisty Sultan's daughter feeling cramped inside the palace walls.
Beguelin's book is larded with gags but sticks more or less to the movie. The main addition is a trio of vaudevillian comic sidekicks for Aladdin, (Brandon O'Neill, Jonathan Schwartz and Brian Gonzalez), replacing his kleptomaniac monkey onscreen. (Jasmine's tiger has also been nixed.) These guys were part of Ashman's concept for the film, and their jaunty songs are enjoyable, particularly "High Adventure," even if they sometimes outstay their welcome.

The opening number, "Arabian Nights," is a busy riot of marketplace scene-setting and souk-chic fashion, in which the Genie reminds us that, "Even our poor people look faaabulous!" That goes double for buff Aladdin, in his artfully patched Hammer-time pants. Beaming like a toothpaste commercial model, Jacobs packs plenty of charm into the role, and is an ideal incarnation of the handsome Disney cartoon hero -- now with lifelike nipples and body hair! He also brings tenderness to his warm rendition of "Proud of Your Boy," in which the orphaned urchin dreams of becoming more than a street thief.
But the romantic pulse of Aladdin is a little faint. Jasmine is a less captivating version of Belle and Ariel before her, spouting generic female-empowerment refrains but never acquiring much dimension as a character. Her magic carpet flight with Aladdin during "A Whole New World" is a technological marvel (no visible trace of cables or lift mechanisms), set against the star-strewn velvet of lighting designer Natasha Katz's night sky. But the scene lacks enchantment because the chemistry between Aladdin and Jasmine isn't quite there. While Reed sings sweetly, she's more like a curvy Kardashian than a Disney princess, and her trio of fly-girl attendants could sub for Destiny's Child. (I swear, I kept listening for the opening guitar lick from "Bootylicious," waiting for someone to ask, "Kelly, can you handle this?")
Beguelin looks for the true heart of the musical in the intertwined quests of Aladdin to be an honorable man and the Genie to be a free one. But while both actors are winning presences, their storylines bump along with the jokey buddy dynamic of a Bob Hope-Bing Crosby movie (think Road to Morocco), limiting the emotional pull.
In leaning so heavily on the campy humor (yes, there are "Walk Like an Egyptian" dance moves aplenty) the creative team has slightly shortchanged the show on earnest sentimentality, which for better or worse is an essential Disney ingredient. That makes Aladdin's appeal somewhat juvenile, though plenty of adults with a taste for broad comedy will eagerly get on board. The cartoonish aspect is enhanced by the mugging villains: Jafar (Jonathan Freeman, reprising the vizier role he voiced in the film), and his diminutive henchman, Iago, no longer a parrot but a sneering human sycophant who, in Don Darryl Rivera's amusing performance, seems spliced from the DNA of Danny DeVito and Matt Lucas.
Bob Crowley's pretty sets appear lifted from storybook illustrations and classic animation backgrounds, but the most lavish design element by far is Gregg Barnes' endless parade of costumes. Their rich textures and vibrant colors are frequently embellished with beads, brocades, tassels and trinkets, accessories that are available in more modest versions at the lobby merchandise stand. Ka-ching!


Broadway World
http://www.broadwayworld.com/article/BWW-Reviews-Disney-Does-Musical-Comedy-Right-With-ALADDIN-20140321#.UywQfdzBz9g

BWW Reviews: Disney Does Musical Comedy Right With ALADDIN


They used to call them tired businessman musicals; fast-moving, slickly-produced musical comedies that livened up evenings for overworked white-collar gents with lots of gags, some catchy tunes and pretty chorus girls in sexy outfits. They weren't meant to be art. They were meant to be hits.

BWW Reviews: Disney Does Musical Comedy Right With ALADDIN
Courtney Reed and Adam Jacobs (Photo: Deen Van Meer)
Well, believe it or not, the latest entry in Disney's Broadway parade might be considered a 21st Century variation on the theme. Call Aladdin, based on the 1992 animated feature, a tired businessperson's musical. The laughs are plentiful, the songs are bright and jazzy, there's not an actor dressed as an animal (or inanimate object) in sight and romance and cuteness are kept to a minimum, as are many of the costumes worn by both male and female cast members.

The hot Broadway orchestrations by Danny Troob and the sight gag about New York souvenir shopping barely a minute into the script are early signs that the Arabian nights setting is not going to be taken very literally in director/choreographer Casey Nicholaw's fast and funny production. The setting, Agrabah, is said to have "more glitz and glamour than any other fictional city in the world!" Chad Beguelin's book is written in jaunty contemporary English, full of pop culture jokes and ridiculous puns, and the multicultural cast members make no attempt to look or sound like a middle eastern cliché. Think vaudeville, think borscht belt, but don't think too much.

Composer Alan Menken's film score (with Howard Ashman and Tim Rice each contributing lyrics) is augmented by new numbers with words by Beguelin.

Playing it straight and spunky are Adam Jacobs, as the poverty-stricken title character who steals for survival, and Courtney Reed as the young princess who wishes for a chance to marry for love and be an equal partner to her husband, instead of following her aging father's desire that she marry a prince who will rule over the land. ("Why are you so determined to pawn me off to any Tom, Dick or Hassim that comes our way?")

BWW Reviews: Disney Does Musical Comedy Right With ALADDIN
James Monroe Iglehart (Photo: Cylla von Tiedemann)
The couple meets when the princess, Jasmine, tries to escape from the palace disguised as a commoner, but it isn't long before she's caught and sent back to her royal digs. Needing to pass himself off as a prince in order to court her, Aladdin gets assistance from a magic genie from a lamp (James Monroe Iglehart), who has the power to grant wishes and to stop Broadway shows dead in their tracks.

A large man with a big voice and a mega-watt smile, Iglehart takes over the proceedings Groucho Marx style, spewing a rapid-fire succession of non-sequitur irreverence like an over-caffeinated Vegas lounge emcee. ("Come for the hummus, stay for the floorshow!")

Late in the first act, Nicholaw builds a hilarious production number around him to the clever "Friend Like Me", loaded with showgirls and showboys, shout-outs to Let's Make A Deal, Dancing With The Stars, Oprah Winfrey ("You get a wish! You get a wish!") and an American Idol type medley of Disney hits. The light-footed Iglehart shticks his way through the mini-spectacle with frenetic charm and killer pipes.

But he's not the only one delivering the comical goods. Jonathan Freeman seems to be having a ball channeling Cyril Ritchard as the deliciously evil Jafar, the role he voiced in the original film. His henchman, Iago, played as a parrot in the movie, is now a wisecracking wart of a human, terrifically embodied by Don Darryl Rivera. Aladdin's monkey pal has also been replaced by humans; a Ritz Brothers style trio of singing, dancing and sword-playing buffoons played by Brian Gonzales, Jonathan Schwartz and Brandon O'Neill.

The splendidly opulent designs by Bob Crowley (sets), Gregg Barnes (costumes) and Natasha Katz (lights) splash the stage with colorful pastels and glimmering golds. The technological coup of the evening is a full-stage magic carpet ride among the stars as Jacobs and Reed fall in love to "A Whole New World."

But the real magic of Aladdin is watching the talented company plunge into Nicholaw's wild and crazy staging with the sole intention of entertaining the pants off of you like it's nobody's business.

Inviato da: Scissorhands il 21/3/2014, 15:26

Altre recensioni qui:
http://www.ew.com/ew/article/0,,20364394_20798645,00.html

http://www.ew.com/ew/article/0,,20364394_20798645,00.html

Recap qui:
http://www.broadwayworld.com/board/readmessage.php?thread=1070671&page=1
e qui
http://www.didhelikeit.com/shows/aladdin-reviews.html

Mah... poteva andare peggio... l'idea è che la critica non si è accanita contro il musical come con la Sirenetta e Tarzan... ma non siamo ai livelli di Mary Poppins o Newsies...

Inviato da: roxirodisney il 22/3/2014, 11:34

Aladdin on Broadway - A million miles away


Inviato da: Arancina22 il 22/3/2014, 16:30

Beh dai, almeno non è stato uno stroncamento completo.

La canzone che hai messo tu Roxi mi piace moltissimo happy.gif
Peccato per il valzerino, lo trovo un po' anacronistico. E gli attori sono un po' impalati o sbaglio? Boh, forse è la canzone che non è particolarmente movimentata.
Jasmine è davvero splendida comunque!!!

Inviato da: Princesse Sophie il 25/3/2014, 17:38

Quindi attori abbastanza ok (a parte il trio e Iago), ma molto commerciale, pieno di slang e gag su new york? Ho interpretato bene?

Inviato da: Beast il 26/3/2014, 17:46

Jim Hill ne parla piuttosto bene: http://jimhillmedia.com/editor_in_chief1/b/jim_hill/archive/2014/03/25/huffington-post-how-disney-quot-aladdin-quot-went-from-being-a-diamond-in-the-rough-to-broadway-s-newest-hit.aspx

Inviato da: Beast il 10/6/2014, 15:11

Il musical ha vinto un Tony Award per il 'Miglior attore non protagonista", andato a James Monroe Iglehart (il Genio).

http://en.wikipedia.org/wiki/68th_Tony_Awards

Inviato da: Scissorhands il 30/7/2014, 16:28

Riporto 3 interessanti articoli sul musical, la sua gestazione e i confronti col film d'animazione:

http://jimhillmedia.com/editor_in_chief1/b/jim_hill/archive/2014/05/18/huffington-post-james-monroe-inglehart-the-genie-from-disney-s-new-broadway-musical-version-of-quot-aladdin-quot-recalls-the-phone-call-that-changed-his-life.aspx

James Monroe Iglehart, the Genie from Disney's new Broadway musical version of "Aladdin," recalls the phone call that changed his life

RATE THIS
PoorPoorFairFairAverageAverageGoodGoodExcellentExcellent Jim Hill 18 May 2014 9:34 PM 0
2012 is not a year that James Monroe Iglehart looks back fondly upon. Mostly because he spent a lot of that year staring at his phone, waiting for it to ring.


Adam Jacobs and James Monroe Inglehart in the 5th Avenue Theatre's 2011
production of Disney "Aladdin."

"We had done the pilot production of 'Aladdin' in Seattle at the 5th Avenue Theatre in July of 2011. And then the powers-that-be at Disney went off to decide if they really want to bring this show to Broadway," Iglehart recalled during a recent phone interview. "So I and the rest of the cast from Seattle sat around, waiting for Disney to make a decision. And we waited. And we waited. And then we waited some more. And then I heard that Disney had decided to make 'Aladdin' available to the Muny Theatre in St. Louis so that they could then produce a regional production of the show over the summer of 2012. And that news kind of broke my heart."

"And why was that exactly?," you ask. Well, ever since James and his Mom had gone to see the animated version of Disney's "Aladdin" back in 1992, he had dreamed of someday playing the Genie.

"I can remember clear as day that -- when 'Friend Like Me' finished in the movie version -- I immediately leaned over to my Mom and said 'I want to do that someday,' " Iglehart continued. "There was just something about the Genie in that specific scene that really resonates with me. He is just so happy to be out in the world again after having been trapped inside of his lamp for 10,000 years. Which is why the Genie just pulls out all the stops as he demonstrates to Aladdin what he can possibly do with his three wishes."


Copyright Disney Enterprises, Inc. All rights reserved

So after having played the Genie in Seattle, James dearly wished that he'd also get the chance to play this exact same part on Broadway. But what with the 2012 production in St. Louis (not to mention a second regional production at the Tuacahn Amphitheatre in Ivins that same year), it looked as though Disney Theatrical had lost confidence in this show.

Ah, but looks can be deceiving. As it turns out, Disney Theatrical hadn't actually lost confidence in the stage musical version of "Aladdin." They just thought that the show needed a lot of work before it was then ready for Broadway. Which is why they actually made the Seattle version of "Aladdin" available for the Muny Theatre & Tuacahn Amphithreatre to produce. So that the creative team could then go view these regional productions and -- after seeing how this same material had been handled by others -- make some cold-blooded decisions about what needed to be done to fix this show.

"Now you have to understand that I actually had friends in those two regional productions of 'Aladdin.' And while I'm happy for them because they got those gigs, I'm still really sad for me because I'm not the one playing the Genie. Which is my dream part," Iglehart explained. " "But then I hear through the rumor mill that the Broadway version of 'Aladdin' really isn't dead. That what the creative team is doing now is rehauling the script, writing some new songs. And I'm just hoping & praying that when Disney finally does decide to go forward with the Broadway production that they still want me to play the Genie."


The opening scene for the Muny's production of Disney "Aladdin." And yes, those are
live full-sized camels onstage with Babkak, Omar & Kassim seated on top of them.

So let's now jump forward to the Fall of 2012. After months & months of waiting, James is told to expect a call from Disney Theatrical. Mind you, he doesn't know if this is the "You've-got-the-part!" call or the "Sorry-but-we're-going-with-somebody-else" call. All he knows is that Disney Theatrical is going to call.

"And my wife is like 'I have to go to work today. But I really want to be able to share this moment with you. So could you please record this call?,' " Iglehart remembered. "And I was like 'Well, what if they say I didn't get the role? Why would I want a recording of that?' And my wife was like 'Just tape the call for me, please?' "

So to kill time as he's waiting for this fateful phone call, James takes his niece out to buy a cell phone. And as the two of them are driving back home, Iglehart's own cell phone rings. And as he looks at the caller ID, James sees that it's Casey Nicholaw, the director-choreographer of Disney "Aladdin."


James Monroe Inglehart and Casey Nicholaw at the first day of rehearsal for the
Broadway production of Disney "Aladdin"

"And I'm like 'Oh, my God! I have to take this call!' But I'm in traffic and it's illegal to answer your cell phone while you're driving. So I let it go to voicemail while I find a place to park," Iglehart said. "Once the car is parked, before I call Casey back, I turn to my niece and say 'Get your cell phone out and tape this. Your aunt wants to see what happens next.' "

And what did happen next? Well, see for yourself.


Yes, James' wish had finally come true. He was going to get to play the Genie again. Ah, but there were a few provisos, a couple of quid pro quos. Chief among them being that "Aladdin" wasn't actually going straight to Broadway. The show was first heading to Toronto for a lengthy out-of-town at the Ed Mirvish Theatre.

"And do you remember how bad this past winter was? Well, we went through that up in Canada. Which is where winter comes from," Iglehart laughed. "But we'd mush through the snow to the theater and just rehearse & rehearse because the creative team was continually reworking the show. In fact, we were making changes right up until we left Toronto."

And James only learned about one of these proposed changes just before he flew home to NYC.


Copyright Disney Enterprises, Inc. All rights reserved

"I am literally about to head out to the airport when a member of the creative team walks up to me, hands me an envelope and whispers 'Don't open this until you get on the plane,' " Iglehart states. "So I do just like this guy says. I wait to open this envelope 'til I'm actually in my seat on that plane. And what's inside for a brand-new opening for the show where the Genie leads the cast in singing 'Arabian Nights' which Casey wants us all to start rehearsing once we get back to New York."

Which gave James some pause. Given that -- up until now -- the opening number for Disney "Aladdin" has been sung by the show's trio of narrators, Omar (Jonathan Schwartz), Kassim (Brandon O'Neill) and Babkak (Brian Gonzales).

"And Brian Gonzalez is like my best friend on the planet. So I really couldn't go through with this change without first getting Brian's blessing," Iglehart recalled. "So I called him and Brian said -- on behalf of the trio -- that they were okay with the change. That whatever it took to make sure that 'Aladdin' became the best possible show before it opened on Broadway, they were willing to do. That's the caliber of the people that I'm working with here at the New Amsterdam. That's how generous & talented they are."


Copyright Disney Enterprises, Inc. All rights reserved

That's why every night -- as James is onstage performing "Friend Like Me" -- he makes a point of making eye contact with every other cast member who's out there making this 8 minute-long production number stop the show.

"As I keep telling these guys backstage, you're the real reason we get a standing ovation every night. Without you, I'd just be a big black guy in a blue suit who sings 'Can your friends do this? Can your friends do that?' as he points around an empty stage," Iglehart said. "I'm just so blessed to be part of this cast, to have Disney entrust with this role that I've always dreamed of playing."

That's why James always makes a point to spend a little extra time with those people who turn up at the stage door at the New Amsterdam and want to get a selfie with the Genie. Because he remembers all too well the important part a cell phone played in making his own lifelong dream come true.

Inviato da: Scissorhands il 30/7/2014, 16:29

http://jimhillmedia.com/editor_in_chief1/b/jim_hill/archive/2014/03/25/huffington-post-how-disney-quot-aladdin-quot-went-from-being-a-diamond-in-the-rough-to-broadway-s-newest-hit.aspx

Huffington Post -- How Disney "Aladdin" went from being a diamond in the rough to Broadway's newest hit

RATE THIS
PoorPoorFairFairAverageAverageGoodGoodExcellentExcellent Jim Hill 25 Mar 2014 6:30 PM 1
When the reviews for Disney "Aladdin: The New Musical Comedy" finally came in last night, with the New York Times praising this production for its " ... relentless razzle-dazzle and its anything-for-a-laugh spirit," there was no one on this planet that was more pleased & relieved than Chad Beguelin.

After all, it was Beguelin who - 5 years ago - was among the first artists Disney Theatrical Productions reached out to when it was looking to turn "Aladdin" into a full-length stage production. More to the point, it was Chad's conversation with Alan Menken about how Disney's 1992 Academy Award-winning animated feature might possibly be adapted for the stage that suddenly turned this show into something more.


Courtney Reed as Jasmine and Adam Jacobs as Aladdin as they sing "A Million
Miles Away," a new song that Alan Menken & Chad Beguelin wrote for Disney
"Aladdin: The New Musical Comedy." Copyright Disney Enterprises, Inc.
All rights reserved

"Back then, there was absolutely no talk of taking 'Aladdin' to Broadway. Disney Theatrical had asked me to work up a possible libretto for a stage version of this film only because all of these high school & college theater departments kept writing in, asking if there was an official script available for 'Aladdin' yet," Beguelin explained during a recent phone interview. "So the original goal here was to just put together a straightforward stage adaptation of Disney's 'Aladdin.' Something that faithfully followed the storyline of the original 1992 film which could then be licensed out to all of these high schools & colleges. Maybe even a regional production or two."

But when Chad showed his first draft to Alan so that "Aladdin" 's Oscar-winner composer script could then sign off this project, Menken saw something more. A diamond-in-the-rough, if you will.

"Alan must have liked what he saw in that script. Because the next thing I know, he's talking about how we could maybe fold some of the songs that he & Howard Ashman had originally written for the animated version of 'Aladdin' into this proposed stage show," Beguelin continued. "That's when Alan hands me this file folder which is just full of Howard's original story notes for 'Aladdin.' And then what was supposed to have been this simple, straightforward stage adaptation of the animated 'Aladdin' suddenly became this whole other thing."


James Monroe Inglehart in the role of the Genie in Disney "Aladdin: The new
Musical Comedy." Copyright Disney Enterprises, Inc. All rights reserved

And why was that exactly? Well, Howard's original 40-page treatment for "Aladdin" had had a far different take on this tale from "1001 Arabian Nights." Ashman originally envisioned this animated feature as kind of a riff on Bob Hope & Bing Cosby's old "Road" pictures. Which is why -- because Howard wanted this film to have far more of a 1940s feel -- his original inspirations for the Genie were Fats Waller & Cab Calloway.

Ashman also wanted this animated feature to be a real departure for Walt Disney Animation Studios, to be the wildest, craziest, funniest film that they had ever produced. Which is why he originally saddled Aladdin with three comic sidekicks -- Babkak, Omar & Kassim -- not to mention a constantly kvetching mother.

And back in late 1988 / early 1989, WDAS did actually put this version of "Aladdin" into production. Only to then shut production after a few months because they were just trying to cram too many songs, characters and gags into a single 90 minute-long animated feature. So Jeffery Katzenberg -- the then-head of Walt Disney Studios -- pulled Ashman & Menken off of "Aladdin" and then put them to work on the then-equally troubled "Beauty and the Beast." Which -- at that time -- wasn't even a musical but more of a dark romantic animated fantasy.


Alan Menken and Howard Ashmen at a recording session for Disney's "Beauty and
the Beast." Copyright Disney Enterprises, Inc. All rights reserved

But what no one knew at the time was that Howard was HIV positive. Which meant that -- by spending his remaining time on turning Disney's "Beast" into a musical -- Ashman then wouldn't get a chance to revisit "Aladdin." Find a way to make his "Road" picture-inspired take on this material work.

But now with Disney Theatrical considering a stage adaptation of this animated feature, here -- finally -- was a chance to revisit Howard's original vision for "Aladdin." So Alan handed off that folder to Chad and asked him to consider folding this material into the show.

"So I took that folder back to Disney Theatrical. And it was full of all of these great comic songs that were cut out of the animated film. This wealth of material that could then be used to turn the stage version of 'Aladdin' into a tribute to Howard Ashman's genuis," Beguelin explained. "But in order to fold all of this stuff into the show -- Aladdin's three sidekicks, all the restored songs -- that first meant making some pretty significant alterations to the story. And given that people were going to be walking into this musical with certain expectations in their head because they already had the film version of 'Aladdin' ... That meant that the stage version of 'Aladdin' was going to be this delicate balancing act. Where we found ways to preserve the parts of this movie that audiences loved, while -- at the same time -- carving out space for all these great new characters & songs."


(L to R) Adam Jacobs as Aladdin, Brandon O'Neill as Kassim and Brian
Gonzales as Babkak with the ensemble of Disney "Aladdin: The New
Musical Comedy" as they perform "Babkak, Omar, Aladdin, Kassim."
Copyright Disney Enterprises, Inc. All rights reserved

Thus began the period Chad now somewhat jokingly calls the "1001 Rewrites." As Beguelin began trying to find just the right balance between old & new. It took a pilot production of the show in 2012 at the 5th Avenue Theatre in Seattle -- not to mention a non-Disney produced regional production of "Aladdin" at the Muny in St. Louis last summer -- to really get a handle on what needed to stay & go. But even as a radically revamped version of "Aladdin" began its out-of-town try-out in Toronto in December, Chad & this show's creative team were still making changes to its libretto, were still moving around the placement of those Ashmen / Menken songs that had been cut out of the movie.

"That's why it was so great that we had Casey Nicholaw as the director & choreographer of the stage version of 'Aladdin.' Because Casey's completely ruthless when it comes to his own work," Chad said. "Take -- for example -- the number we used to open the show with, 'Babkak, Omar, Aladdin, Kassim.' Casey's original idea was to have Aladdin & his three sidekicks open the show performing circus-style tricks while they stood in front of the curtain singing these really funny Howard Ashman lyrics. But when that didn't wow the audience, Casey said 'Okay. We're going to move the 'Babkak' number to later in the show, restage it with the entire cast so it then has lots more energy. In the meantime, let's restage the opening so that we now have the Genie start off the show by singing 'Arabian Nights.' " So that's what we did. We moved some songs around as well as writing a new number for Jasmine. And by the time previews began in New York City, the Genie was now opening the show by leading 'Arabian Nights,' our new scene-setting opening number for 'Aladdin' ."

Truth be told, Beguelin wrote four new songs with Menken for the stage version of "Aladdin," "These Palace Walls," "A Million Miles Away," "Diamond in the Rough" and "Somebody's Got Your Back." All with an eye toward making sure that these tunes matched the style & the tone set not only by the six songs that Alan wrote for the film with Howard but also by "One Jump Ahead" & "A Whole New World." Which Menken actually wrote with Tim Rice for "Aladdin" after Ashman passed away in March of 1991.


(L to R) Chad Beguelin, Casey Nicholaw and Alan Menken onstage at the New
Amsterdam Theatre for the opening night of Disney "Aladdin: The New
Musical Comedy. Copyright Disney Enterprises, Inc. All rights reserved

And in the end, that five years of hard work paid off this past Thursday night. With critics like Charles Isherwood at the New York Times praising "Aladdin" for its " ... extravagant musical numbers" which " ... pay energetic tribute to everything from the Cotton Club and Las Vegas to vintage Hollywood and current Bollywood."

And all of this happened because -- when Alan Menken looked at Chad Beguelin's script for a stage version of Disney's "Aladdin" -- he saw a diamond in the-rough.

Inviato da: Scissorhands il 30/7/2014, 16:30

http://www.cartoonbrew.com/theater/disneys-aladdin-the-broadway-musical-vs-the-animated-film-97881.html

Disney’s ‘Aladdin’: The Broadway Musical vs. The Animated Film
BY C. EDWARDS ON SUNDAY MARCH 30, 2014 6:00 PM
Comments 15


After three years of tryouts and short runs in a total of four different cities, Disney Theatrical’s version of Aladdin finally opened on Broadway March 20th at the New Amsterdam Theatre. It is the fifth Disney animated movie to be adapted for the Broadway stage (Beauty and The Beast, The Lion King, Tarzan and The Little Mermaid precede it) and with The Hunchback of Notre Dame, The Jungle Book, Alice in Wonderland and Frozen in various phases of development, it certainly won’t be the last.

So now that it’s here, how does it compare to the animated Aladdin we all know and love? After seeing the musical a few days ago, here are my observations. (Spoilers ahead.)


STORY & SONGS

The story is a mash-up of the movie version and an earlier version that songwriters Alan Menken and the late Howard Ashman wrote after working on The Little Mermaid. In their version, Aladdin, much to the chagrin of his mother, is a busker who spends the days singing on street corners with his three layabout buddies Babkak, Omar and Kassim. In the Broadway version, Aladdin and his friends are thieves who are trying to go legit by becoming street performers. While the addition of these characters leaves no room for Abu the monkey, Aladdin’s three friends are one of the most entertaining elements in the musical.



All of the songs from the movie are featured, alongside four new ones written for the stage by Chad Beguelin, and three of the songs cut from the original treatment, “Babkak, Omar, Aladdin, Kassim” (performed above at the 2011 Seattle tryout), “High Adventure,” and “Proud of Your Boy,” a ballad that Aladdin sings to his mother. You may remember the latter as the song from a segment in the deleted scenes of the Waking Sleeping Beauty DVD, where storyman Ed Gombert breaks into tears trying to explain why no one wanted to see it cut from the film. It’s nice to see Aladdin (played by Adam Jacobs) finally get to sing the song to his mother. Unfortunately, he sings it to her in absentia, because she is dead—poor lady just can’t seem to catch a break.


A GENIAL GENIE

The Genie opens the show with the song “Arabian Nights,” but doesn’t return until towards the end of Act One where he kicks, flips, and riffs his way through a show-stopping version of “Friend Like Me.”

In lieu of a shapeshifting cartoon character with the voice of Robin Williams, they put everything into the rapid-fire sass of James Monroe Iglehart, who, with the help of some pyrotechnics, lighting tricks, and sleight of hand, manages to inject much needed energy into the show. Iglehart replaces the celebrity impersonations of the original Genie with pop culture references, self-aware commentary, and other fourth-wall breaking shenanigans. He even joyfully transitions “Friend Like Me” into a medley of popular songs from Little Mermaid, Beauty and the Beast, Lion King and Pocahontas in a soulful style reminiscent of James Brown.


PRINCESS JASMINE

In David Koenig’s book Mouse Under Glass, he recounts that the film’s writers Ted Elliott and Terry Rossio wrote Princess Jasmine in such a heroic and purposeful way that it all had to be cut out because she was overshadowing the lead. This new version of Jasmine (Courtney Reed) could have benefitted from some purpose, since they’ve removed so many elements from her arc—her father being hypnotized, an overprotective tiger, vamping it for Jafar to help Aladdin—that she’s just a stubborn princess who runs away from home. Her most interesting moment is when, during the heat of her frustration with having being forced to marry, she threatens her father with the idea that she can rule Agrabah alone, without a husband.

When you compare the musical’s grand production numbers with Bollywood-influenced choreography and numerous quick changes, even Jasmine’s songs are unimaginative. During “A Whole New World,” Aladdin and Jasmine are hoisted onto a carpet—a non-sentient one—and they float around in front of a humdrum bed of stars and a giant full moon for what feels like ten whole minutes. At one point, the moon turns into the Earth and you’re left to wonder, “Are they… in outer space?”


BETTER THE DEVIL YOU KNOW…

They really could not have gotten a better actor to impersonate the villainous vizier Jafar, because the actor who plays the role, Jonathan Freeman, also voiced the character in the original film twenty-two years ago. Andreas Deja, Jafar’s supervising animator, reportedly designed the look of the original character based on the actor/singer’s bellowing voice before ever meeting him in person. It’s too bad that the voice is all that Jafar has going for him; his scenes do not expand upon his motivations and are often stolen by the scenery-chewing Iago (a human, not a parrot, played by Don Darryl Rivera). Apparently, a version of the Menken/Ashman/Tim Rice song “Why Me?” was originally in the show at some point (below), but it didn’t make it to Broadway. Instead, once Jafar gets a hold of the lamp, he squanders his wishes (“I wish to make Jasmine my slave!”), spits out a reprise to “Prince Ali,” and experiences a comeuppance that is wholly anti-climactic.

Inviato da: veu il 5/10/2015, 23:04

Una delle canzoni più belle del musical è sicuramente A Million Miles Away...
sentitela...

Aladdin e Jasmine possono godere di duetti fantastici, tra i migliori di sempre in Disney e nei musical in generale...

Inviato da: CostanzaM il 7/10/2015, 18:26

La canzone "Prince Ali" (una delle mie preferite in assoluto) perde tremendamente di potenza, in questa versione. Non si sente il Medio Oriente, non spacca. Nuovo arrangiamento: BOCCIATO!

Inviato da: Arancina22 il 25/1/2016, 16:36

Aladdin, se non è già stato scritto, a quanto pare approderà a Londra quest'anno. Sono passata al teatro dove hanno dato il revival di Miss Saigon e già v'erano le pubblicità e i manifestini dello spettacolo.
Niente male, considerando che c'è ancora Il Re Leone che va alla grande nella capitale britannica. smile.gif Vedremo che sarà.

Inviato da: Scrooge McDuck il 25/1/2016, 19:13

CITAZIONE (Arancina22 @ 25/1/2016, 15:36) *
Aladdin, se non è già stato scritto, a quanto pare approderà a Londra quest'anno. Sono passata al teatro dove hanno dato il revival di Miss Saigon e già v'erano le pubblicità e i manifestini dello spettacolo.
Niente male, considerando che c'è ancora Il Re Leone che va alla grande nella capitale britannica. smile.gif Vedremo che sarà.

Che bello *__* spero di riuscire a vederlo, anche se un salto a Londra quest'anno è un po' difficile riuscire a farlo. :/

Inviato da: veu il 3/9/2019, 0:17

Il musical di Aladdin così come nel 2017 avvenne con Newsies verrà filmato per una distribuzione internazionale.
Newsies è stato lanciato sulla piattaforma Netflix. Aladdin sarà per la piattaforma Disney+? Vedremo (speriamo che prima o poi filmino anche Aida).

Dal sito http://www.filmedonstage.com/

Aladdin

Disney's hit West End musical Aladdin has been filmed for a future worldwide release. Broadway cast member Trevor Dion Nicholas is Genie and is joined by various cast members from several productions of Aladdin around the world for this special filming.

Cast: Trevor Dion Nicholas, Isabelle McCalla

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