Directed by Ted Dykstra • Choreography by Tracey Flye • Written by David Finley
Musical Director, Rick Fox

Cleverly, the convoluted plot is interspersed with contemporary musical material, widening the show’s appeal. Aladdin opens with the lovely Jennifer Dale in the first of her dual roles as a librarian (the librarians never looked so good when I was a kid!). The opening number, “World of Pure Imagination” (sung by Dale) was lovingly lifted from the Anthony Newley/ Leslie Bricusse score, written for the first film version of Willy Wonka & The Chocolate Factory, which starred Gene Wilder and Jack Albertson. Other musical contributions include material from such far-flung artists as Alberta Hunter, Steppenwolf (a full throttle version “Magic Carpet Ride” culminating in a black light skateboard sequence), Irivng Berlin, Brian McNight and (my personal favourite), a rousing dance number performed by the ensemble to the music of James Brown’s immortal funk anthem, “Get Up Offa That Thang”.

Young Rhoslynne Bugay as the Princess is a confection — complete with angelic voice and honest delivery. Actors Jonathan Ellul and Mark Allen (as Weenie and Beans, respectively — dimwitted employees of the Widow Bender) are hilarious and loveable in their buffoonery, and Kyle Dadd as The Sultan (who seemed to be channeling Gilligan’s Island resident Thurston G. Howell III) also delivered high comedy with considerable aplomb.

I couldn’t complete a review of Aladdin – The Magical Family Musical without mentioning the magnificent directing job done by multiple-threat, multiple DORA-Award-winning actor/director/producer Ted Dykstra. Ted is one of the founding members of the Soulpepper Theatre, and is one of our most talented and versatile members of the theatrical community. His direction of Aladdin as well as his many awards and hit shows leave no doubt that he is a prodigiously talented and innovative director.

The appearance of pro-wrestler Bret “Hitman” Hart in the role of the legendary Genie of the Lamp, at first seemed to be a decidedly odd casting choice, however… whatever was lacking in his performance or agility (the man moves like a ham-hock on legs), was more than made up for by the tremendous ovation from the youthful members of the audience as soon as he stepped onstage. The kids just couldn’t get enough of him — and that’s good enough for me! Do something meaningful for your kids during this holiday season, and introduce them to the magical world of ‘live performance’ with a trip to see Aladdin.

The dismissive and truncated mini-bio of David Finley that appeared in the programme was an insult to all writers, as it implied an irrelevent and negilgable contribution.