Review: Aladdin, Prince Edward

“A hundred thousand things to see”

Say Aladdin to most people across the world, and Disney would hope that the first thing that comes to mind is their 1992 animated film. In the UK though, the title is indelibly linked to pantomime and so it feels a little incongruous to have a major musical production of it opening in the middle of June. And whilst Casey Nicholaw’s production hasn’t stimped in any conceivable way when it comes to the look of the show (striking design from Bob Crowley), there’s still a faintly hollow ring to the whole proceeding.
A big hit on Broadway, Aladdin has been pretty much replicated and transplanted into the Prince Edward. Which is good in terms of the undeniable quality of the Disney brand – the family-friendly ethos, the slickness of the design, the unexpected self-referential dips into other Disney musicals. And in the knowing performance of American Trevor Dion Nicholas as the Genie, there’s a respectful homage to the character that Robin Williams brought to life so memorably on screen, which still carves its own identity too.
But the show is called Aladdin, and there’s no escaping that he’s a dud of a character. As is his high-born love interest Jasmine, Chad Beguelin’s book surprisingly weak here. Which leaves the show at a pretty pass, for neither Dean John-Wilson nor Jade Ewen can do too much to invest any kind of real life into them or the jolly japes they work their way through – Ewen does try valiantly though to inject some kind of positive feminist message into a story that is appallingly, dare one say it unforgivingly, lacking in that respect.
You can point to the devilishly good time that Don Gallagher and Peter Howe have as the nefarious Jafar and (humanised) Iago; or to the boisterous camaraderie of Aladdin’s coterie of (male) monkeying pals, Stephen Rahman-Davies and Nathan Amzi standing out here; there really is much to enjoy here on this magic carpet ride. But for all the theatrical pizzazz, there’s not enough emotional magic to keep you soaring, tumbling, freewheeling like the best fairytales should. 
Running time: 2 hours 30 minutes (with interval)
Booking until 11th February

Review: Miss Saigon, Prince Edward Theatre with TodayTix

“I’ll do my dance, I’ll make them drink”
 

I’m pretty there’s a clause in the gay contract that means it is illegal to turn down the offer of drinks in the Julie Andrews room so who was I to resist when the folks at TodayTix invited me to try out their mobile ticketing app by coming along to see Miss Saigon. Founders Merritt Baer and Brian Fenty have had big success on Broadway with their service, offering tickets for a range of shows one week to one hour before showtime and boasting of enabling tickets to be purchased in 30 seconds or less.

And I have to say that they’ve pretty much nailed it. The interface of the app is bright and easy to use (certainly it was on my iPhone6), there’s a wide range of West End shows available and the process of choosing and booking tickets at all price levels is simple and speedy with a little seatmap showing you where in the theatre your selected seats are. It really does streamline the ticket-buying process so that making any last minute decisions to see a show that much easier. Continue reading “Review: Miss Saigon, Prince Edward Theatre with TodayTix”

Re-review: Miss Saigon, Prince Edward Theatre

“Why God? Why today?” 

I wasn’t the hugest fan of Miss Saigon first time round as my review from then clearly attests but I’m never one to be entirely closed-minded (though it may not often seem that way…) so when the opportunity to take a friend who had not previously been popped up, I made a return visit to the Prince Edward Theatre. The show is still basking in the glow of recently winning 9 What’s On Stage awards and it is clear that it is attracting a younger and atypically passionate crowd (for a West End show at least). 

That passion cuts both ways though as the overexcited group behind us couldn’t hold back from the flash photography and the young woman in front of me was less enthused than the rest of her party and spent most of the show on Facebook. It makes for a different kind of theatre experience when you’re having to do battle with that kind of behaviour but given my continued lack of engagement with the storyline of this particular musical theatre behemoth, it was as much a distraction for me as anything.  Continue reading “Re-review: Miss Saigon, Prince Edward Theatre”

Review: Miss Saigon, Prince Edward Theatre

 
“Hey Joe, try taking a little excursion
You’ll feel good from a little perversion”

There’s a real generational split when it comes to Miss Saigon – a contemporary of such 80s mega-musicals as Phantom and Les Mis, it has comparatively fallen by the wayside in terms of longevity nor has its score really attained the status of a bona fide classic. So there’s a group of people familiar with the show ready and waiting to make comparisons between the original and this major revival at the Prince Edward Theatre, and then there’s the rest of us – me included – for whom this is a new experience.

And as is often the case when expectations have been pumped sky-high (“Box office records broken on the first day!” “The greatest musical ever?!” “Watch out for the helicopter…”), it isn’t immediately clear what all the fuss is about. Claude-Michel Schönberg and Alain Boublil’s book is basically Madame Butterfly redux but transplanted to the Vietnam war as GI Chris is loved long-time by Kim, their love then forced apart by the US defeat in Saigon and a reunion, of sorts, organised once he finally discovers that he left more than his heart with Kim that evening… Continue reading “Review: Miss Saigon, Prince Edward Theatre”