Disney's Aladdin Jr.

Can a wild and wonderful animated movie musical translate successfully to the stage? You bet it can; in the hands of Adelaide Youth Theatre, Disney’s Aladdin becomes a genuine treat.

At roughly 75 minutes long, the adaptation abandons anything too difficult or unnecessary. The writing is strewn with delicious puns, generally well-delivered by the cast. The set is colourfully presented and resourcefully designed for maximum impact; projected backgrounds especially allow for convincing detail and amusing sight-gags. Everyone is fantastically well-costumed. The use of spotlights produces some striking effects indeed.

Musical director Emily Glew (assisted by Rory Adams) has made the ensemble voices ring out clear and sparkling (though some enunciation of dialogue among chorus members could be improved, particularly in the crucial early stages). Charlotte Hill and Hannah Dandie's choreographic contributions generally add just the right touch; the tapping number is tops!

Jack Raftopoulos and Taylor Tran, as romantic leads Aladdin and Jasmine, are sincere and expressive in just the right ways to carry the heart of this show (though the vocal duet A Whole New World is hampered slightly by noticeable register shifts). Kristian Latella's underplaying of villainous Jafar is a good contrast with the hilariously cheeky and on-target antics of his parrot sidekick Iago, performed with consummate comic timing by Eliza Oppedisano.

The seemingly tricky effects involving animals and magic are quite brilliantly achieved; Miley Vincent's adorably scene-stealing monkey Abu and Alyssa Tacono's silent but engaging Magic Carpet are simply delightful. A raft of cute cameo appearances allows much opportunity for performers to shine, even with just one scene and no dialogue.

Of course, Aladdin is nothing without a Genie, and while the unique personality of Robin Williams will forever loom large over the role, challenging any young performer to make it their own, Joshua Spiniello has the confidence, the energy, and the moves to bring what this show needs.

The only significant criticism that this reviewer could offer relates to the dramatic climax, which just didn't feel quite dramatic enough. Whether this is more a reflection of the writing than the staging is difficult to say, but it all felt over with in far too quick and quiet a manner. A show as excellent as this one deserves to linger at least a little longer over the triumph of its heroes.

As is now to be expected from Adelaide Youth Theatre, the level of exuberance and accomplishment here would be the envy of many adult companies. Young directors Serena Martino-Williams and Leah Harford, both accomplished performers in their own right, can feel proud of what they have delivered.

Anthony Vawser