Michael James Scott, Michael Maliakel and Shoba Narayan
Evan Zimmerman for Murphy Made
Disney'sAladdin, the hit musical based on the 1992 animated film of the same name, celebrates its eighth anniversary on Broadway March 20. The musical opened at the New Amsterdam Theatre, where it continues, March 20, 2014.
In the 2,679 performances comprising Aladdin’s run so far (including the March 20 matinee and evening performances), Aladdin and Jasmine have flown over 88 miles on the magic carpet while singing the Oscar-winning “A Whole New World;” the Genie has set off nearly 100,000 pyrotechnics in the show-stopping “Friend Like Me;” and in the Act Two opener, “Prince Ali,” the cast and wardrobe team have made over 185,000 lightning-fast costume quick changes.
The stage production, which expands the 90-minute film into a two-act format, has music by Alan Menken, lyrics by the late Howard Ashman and Tim Rice, and a book and additional lyrics by Chad Beguelin. Nicholaw directs and choreographs.
Aladdin began previews at the New Amsterdam February 26, 2014. The musical was nominated for five 2014 Tony Awards, including Best Musical. James Monroe Iglehart won the Tony for his performance as the Genie. The musical reopened September 28, 2021, following the pandemic-related Broadway shutdown.
Aladdin is designed by Tony-winning scenic designer Bob Crowley, Tony-winning lighting designer Natasha Katz, 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 also created the vocal and incidental music arrangements, joined by orchestrator Danny Troob and dance music arranger Glen Kelly.
0
of
From Magic Lamps to Crystal Balls: Get Up Close With the Props of Broadway’s Aladdin
From Magic Lamps to Crystal Balls: Get Up Close With the Props of Broadway’s Aladdin
We take a closer look at all of the intricate details that decorate the set at the New Amsterdam Theatre.
16 PHOTOS
Welcome to Prop Alley at the New Amsterdam Theatre! This is where we stage the majority of the props in Aladdin. They’re held here and ready to go on stage.
The bracelet pole is used in the marketplace and is based on research that the designers did in Morocco. They took a lot of photos in the markets there to inform the design of the show.
There are 70 feathers in each Prince Ali fan. These are dyed silver pheasant feathers that are sourced locally on 37th Street. We steam and brush them to make them look new again when they start to get worn.
The Jasmine bedroom peacock unit was different in Toronto – it had cushions and a bench inside for her to sit on.
This is the sword rack – there are 34 swords and 8 spears used in the show, and all of them are handmade out of a special aluminum alloy that gives them weight and a great tone heard when they clash during on stage fighting.
Make a wish! The Aladdin Genie lamps are 3-D printed and take 4 weeks to make from start to finish. It takes 48 continuous hours to print the plastic lamp before it is sanded and treated, and there are special pyrotechnics that allow it to smoke.
We use five lamps in the show: four gold (three with pyro, one without) and one black for the scene after Jafar has been trapped in it. These are both set with the pyro – don’t hit the button!
Jafar's lamp
Marc J. Franklin
The stage right preset at the top of show features many of the props used in the marketplace and one of the Cave of Wonders towers.
These are different inserts for use in one of the market carts. The lefthand insert is used at the top of the show selling dates, fruit and other goodies, and the basket on the right holds Jafar and Iago’s disguises when they meet Aladdin in the marketplace. All of the baskets are made in Africa and are fair trade.
One of two Jafar staffs, this one is made of carbon fiber. At the end of the show there is another that is steel reinforced and is a safety mechanism to help Jafar balance when he rises and then disappears into the lamp.
At the top of the show, the Genie has this lamp (without pyro) and the Statue of Liberty in his pockets. This lamp is a little smaller so it fits into his costume.
The crystal ball is used in the marketplace to tell Jasmine and Aladdin’s good fortune.
This is a detail shot of one of the Cave of wonders towers. Our inspiration was a pirate treasure cave, loaded up with fabulous gold and silver and jewels.
Marc J. Franklin
One of the original posters from the 2011 pilot production at The 5th Avenue Theatre in Seattle that managed to make its way backstage and hangs on the stage right wall.
A set piece from the Mary Poppins rooftop scene is bolted to the original 115 year old back wall as a keepsake from that show, which played the New Amsterdam for over 6 years.
Surrounded by period-accurate, 19th-century holiday decorations lit via candlelight, the 70-minute production is based on Dickens' own script of the classic.
The play comes on the heels of a broader cultural conversation about Dahl's work and the prejudice that was embedded in many of his most beloved stories.
