This time I finally saw the evergreen Broadway hit Aladdin.
I saw Shiki Theatre Company’s Aladdin in Japan about a year and a half ago and remember being deeply moved. Still, Broadway easily surpassed my expectations. It was two and a half hours of nonstop thrills, and meeting the two leads afterward put me over the moon. Aladdin is absolutely unmissable. Below is my report as of July 25, 2018, with the latest details.
Table of contents
Musical: Aladdin – overview
Following Beauty and the Beast, Aladdin opened in Japan in 1993 and became a mega-hit.
On Broadway it premiered in March 2014 at the New Amsterdam Theatre and earned five Tony nominations. To this day, it remains a flagship title for both Disney and Broadway.
We cover highlights, cast, and tips for enjoying the show on the detail page. Have a look before you go.
Aladdin’s home: the New Amsterdam Theatre
New Amsterdam Theatre
Address: 214 West 42nd Street, New York, NY 10036
See the detail page for more about the New Amsterdam.
From the doors to your seat
The New Amsterdam sits on 42nd Street, the main cross street through Times Square. Its glittering Aladdin marquee matches the neon glow of the district. Unusually for Broadway, it has a separate entrance for the box office and for theater entry.
You’ll likely need to stop by the box office to pick up tickets, so arrive with time to spare. I waited about 10 minutes and got in.
After bag check, you pass through a narrow corridor. Fifteen minutes before curtain, many people were still rushing in and it was crowded. The corridor features a merch showcase in a prominent spot. Beyond that, on the left, are the merch counter and the translation device desk. A bit farther and the space opens into the large auditorium where ushers can guide you to your seat.
Our seats this time
How to read the ticket: ORCHL 19
Row N (12th from the front), seat 19
Seat 19 is five in from the left wall, so quite far to the side, but because this house curves around the stage more than most, the sightline was still good.
One drawback: there is no open space under the seat in front (only enough for your toes), so you can’t stretch your legs, and the row spacing is tight enough that people can barely pass. If that bothers you, aim for something closer to the center.
Grabbing a drink before curtain
They feature the Aladdin logo, so if you don’t need merch but want a small keepsake, they’re perfect. In front of the bar, separate vendors sell snacks and water; if you don’t need alcohol, that line is much faster.
Recommended seats for Aladdin
Better a bit too close than too far. If you can, aim for orchestra front through mid, roughly rows M or N and forward.
Top 4 Aladdin merch picks
1) Gift set $55 (photo)
2) Aladdin and Jasmine plush $25 each (photo)
3) Teddy bear in Genie costume $40 (photo)
4) Official program $25 (photo)
The gift set is a hit with adults; the plush items are kid favorites. The program makes a great personal keepsake.
Tried the Japanese translator AudienR
Right next to the merch stand is the booth lending translation devices. The unit is Audien, which we introduce on our site as well. I was curious how the Japanese translator actually performs, so I tried it. I wrote up my candid impressions in a separate report, so check it out.
Massive LED screens
Beforehand I worried whether I could see well from the mezzanine, but from there I could clearly make out faces, staging, and costumes, and enjoyed the show fully.
The staging is simple, but the background uses LED screens, and at one point projection mapping washes the entire house. That whole-venue perspective is a special perk of the mezzanine.
We got autographs from the two leads
We had heard there was a spot to meet the cast after the show, so we hurried out, asked a staffer where the actors exit, and got the quick, practiced answer: “They come out the 41st Street stage door.”
Two minutes’ walk brought us to the stage door, where 20-30 fans were already waiting for photos and autographs. People ahead of us said Jasmine and Jafar had come and gone. Less than 15 minutes after curtain and they were already out.
Ten minutes after that, a louder cheer announced Major Attaway, our Genie, wearing a Genie T-shirt.
He treated everyone along the barricade like a friend and greeted each person politely. He signed with his own gold marker. You would never guess he had been singing and dancing before 1,800 people moments earlier. Hats off to the true star hospitality.
I loved the show already, but seeing the cast like this offstage made me love Broadway Aladdin even more.
Aladdin – post-show impressions
On a personal note, I love Disney. it is been part of my life since childhood, and I even worked at a Disney hotel. Of course I’ve seen the film, and “A Whole New World” ranks in my top three Disney songs.
Having been moved by Shiki’s Aladdin in Japan just a year and a half ago, I went into Broadway’s Aladdin with both high hopes and a high bar.
Moved by how faithfully the film is staged
The Broadway production made me say “as expected from Disney.” The Genie opens the show and the energy spikes immediately. He jokes with a tiny Statue of Liberty, a very New York touch. Then “Arabian Nights” swells and we are off.
If you have seen the film even once, you will find yourself thinking “Oh, that scene!” again and again. If you havn’t, the stage version stands on its own and is recreated so faithfully you could assume it is the original.
In the iconic magic-carpet scene with Aladdin and Jasmine, the dialogue is almost identical to the film. To surpass the animated version emotionally, the performers really have to deliver – and they did, without question.
Comparing Shiki and Broadway
When I saw Shiki’s Aladdin, I was amazed how completely the production drew me into Arabia – sets, makeup, costumes, and overall concept built a world. On Broadway, with many Middle Eastern-looking performers in the cast, there was an undeniable “authentic” aura.
Our Aladdin was Broadway’s first Asian lead in the role when I attended, but his placement and power were exactly what you would expect from someone who won a nationwide casting process. I didn’t think of him through any “Asian” lens at all.
From the marketplace chase where he steals bread and leaps away from palace guards to the smallest mannerisms, his physicality matched the film. It felt less like “Telly Leung playing Aladdin” and more like “Aladdin, a person named Telly Leung” – and the same could be said of the whole company.
Pay close attention to the magic carpet
That is because the carpet conceals one of Disney Broadway’s most advanced stage technologies. Flying rigs with visible wires are common, but you can’t fully hide them, so true flight is hard to sell.
Here, you can’t see any wires. If that sounds impossible, come see with your own eyes. For the record, Shiki uses the same tech. With such meticulous illusion, it is easy to be swept into Aladdin’s world.
The easiest Broadway show to enjoy without English
Either way, the emotional impact is different from the animation. Disney’s bold expressions of joy, anger, sorrow, and delight grip the entire audience, even when you know what is coming. That is thanks to acting like Jasmine’s tear-brimmed singing and the jaw-dropping carpet effect.
Broadway’s most lavish finale
The finale is a company number built on an arrangement of “A Whole New World,” and the only way to describe it is overwhelming. The sound feels like it could blow you away; the hall seems to shake. If it hits a nearly 30-year-old office worker like me this hard, imagine what a small child will feel – like stepping into a dream. If you’re choosing your first Broadway show, I truly recommend this one. Do not miss it.
We also have a “Part 2” report with more on the plot, highlights, and stage-door tips. Read it next.
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