Some musicals, stories, and characters just never get old, and you can’t get enough seeing new versions of them. Aladdin is one of those shows, and Creative Cauldron delivers the goods with gusto.
The superb casting enlivens the show, and the young cast members are robust in their portrayals. Brian Dauglash is a roguish, though destitute, Aladdin with athletic physicality and a megawatt smile. He sets his sights on the princess Jazmin, a confident Odette Gutiérrez del Arroyo, whose father immediately dispatches his henchmen to dispose of him. Along with his trusty sidekick monkey Abu (a perky, adorable Whit Jenkins, who rotates the role with Marie Solander), Aladdin escapes treachery long enough to find a lantern in a cave. With a quick rub and a wish, Aladdin suddenly gets the ultimate makeover and, under false pretenses, becomes a wealthy Prince. The other characters keep the action flowing and feature the villainous Jafar, a wondrous Alan Gutierrez-Urista in a role he was meant to play, with his trusty feline Iago, a purringly perfect Anna Longnecker, the royals, and the rest of the ensemble, all sharply directed by Matt Conner.
Showstoppers abound as the characters traipse through the familiar songs and escapades, but nothing prepares you for Ariel Friendly as the Genie. She swoops, she bellows, she captivates the crowd with her raucously timed delivery of some of the funniest lines in the biz. Friendly is irresistibly attired in skin-tight sparkly azure and grants her master’s wishes with a swivel of her hips and all-knowing, sly smile. Costume Designer Nyasha Klusmann had a field day evoking the Genie’s provocative vogue glam, as well as the gorgeous, flowing caftans, animal trimmings, and the cast’s colorful, swashbuckling apparel.
The talented members of the Musical Theater Training Ensemble fill in as market vendors, palace guards, even sundry lamps and furniture stuck in the cave like an old treasure-filled attic. The ensemble knows there are no small parts, and they all bring life and vitality to every movement and facial expression to carry the scenes. Musical Director Bharati Soman orchestrates a playlist of iconic songs such as “A Whole New World” and the memorable “Friend Like Me.” Matt Conner’s direction shifts the settings from a bustling bazaar to the exquisite palace filled with treasures. Lighting design by Lynn Joslin, along with projections by Nicholas J. Goodman, creates a luscious star-filled night for the flying carpet sequences, enabled by the ensemble fluttering the edges, a magical delight.
The ultra-fast quips in the script are laugh-out-loud funny and nod to “kids” of all ages — one example refers to the royal highness as “the artist known as Prince.” Once Aladdin’s luck runs out and he returns to lowly status, he sacrifices his own best interest to assist others for his final wish, the ultimate lesson in camaraderie and humanity, a terrific lesson that never gets old and is a precious reminder for all.
The innovative Dual Language Edition/Edición de Lenguaje Dual (DLE) script development started in 2005 and was no small feat to secure, a huge testament to the Cauldron’s perseverance and determination. The creative twist is how language is used throughout the play. The intention was to “adapt the musical so that English and bilingual audiences could be engaged in the performance.” That’s just what happens as the script goes beyond a linear duo-translation with text spoken in one language then translated directly into another. Instead, the languages flow along with translations occurring throughout the action. The result is nearly seamless translation. At first, royalty spoke one language while the citizens spoke another. The audience understands everything, of course; kudos to any and all language consultants. However, the kingdom is stuck with separate languages that divide the populace. So, in addition to the traditional action sequences and storylines of love, honesty, acceptance, and friendship, the story shows how, once the curse is lifted, the different classes of characters are finally able to understand each other, literally. As an English speaker, I found myself actually understanding some of the Spanish words and phrases as the languages flowed along in a near-total immersion experience in the characters’ clever portrayals.
Per Director Matt Conner’s program notes: “This production — presented in a Dual Language Edition — invites us to reconsider what divides and what connects. It asks a simple but urgent question: What does it mean to truly see another person? In an age of distance and divisiveness, the act of seeing — with clarity, compassion, and curiosity — is perhaps the most radical thing we can do.”
This stellar season finale in the company’s expansive new space is a highlight for Creative Cauldron. The beloved classic Aladdin is a frolicking family entertainment in itself. This Dual Language Edition/(Edición de Lenguaje Dual) adds a layer of panache and achievement that is a timely and valuable treasure.
Running Time: 90 minutes with no intermission.
Disney’s Aladdin plays through June 15, 2025, at Creative Cauldron’s new home, 127 E Broad St, Falls Church, VA. Performances are Thursdays and Fridays at 7:30pm; Saturdays at 2:00pm and 7:00pm; Sundays at 2:00pm. Purchase tickets (Tier One $50,Tier Two $40, Students $25, with discounts available) online or call the box office at 703-436-9948.
The program for Disney’s Aladdin is online here.
Disney’s Aladdin
Dual Language Edition
Edición de Lenguaje Dual
Music by Alan Menken
Lyrics by Howard Ashman & Tim Rice
Spanish Lyrics by Walterio Pezqueira
Music Adapted, arranged and Orchestrated by Bryan Louiselle
Book: Jim Luigs, Jose Cruz Gonzalez
Directed by Matt Conner
Music Direction by Bharati Soman
Choreographed by Stefan Sittig
FEATURING
Brian Dauglash as Aladdin
Odette Gutiérrez del Arroyo as Jazmin
Ariel Friendly as Genie
Alan Gutierrez-Urista as Jafar
Anna Longenecker as Iago
Cristian Bustillos as Razu
Alex Lopez as Sultan
Leela Avilés-Dawson as Rajah/Ensemble
Whit Jenkins and Marie Solander (rotating) as Abu
PRODUCTION DESIGN
Scenic & Prop Design: Margie Jervis
Costume Designer: Nyasha Klusmann
Lighting Design: Lynn Joslin
Projection Designer/ Stage Manager: Nicolas J. Goodman