{"id":2207,"date":"2019-04-30T06:34:33","date_gmt":"2019-04-30T06:34:33","guid":{"rendered":"http:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/?p=2207"},"modified":"2019-04-30T06:34:33","modified_gmt":"2019-04-30T06:34:33","slug":"aladdin-the-musical-at-the-2014-tony-awards","status":"publish","type":"post","link":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/assignments\/music-video-review\/aladdin-the-musical-at-the-2014-tony-awards\/","title":{"rendered":"Aladdin the Musical at the 2014 Tony Awards"},"content":{"rendered":"\n

One of the biggest changes to Broadway in the last 25 years was when Disney began to expand its entertainment behemoth onto the live stage. Following the success of its first Broadway production (Beauty and the Beast<\/em>, opening in 1994) and most famous & successful so far (The Lion King<\/em>, which has been running for over 20 consecutive years now), Disney has been adapting many of its beloved animated classics for the stage in recent years. One of Disney\u2019s more recent additions to the Broadway scene was Aladdin the Musical<\/em>. With an accessible story, fantastic music, and breathtaking set & costume design & staging (not to mention help from the original movie\u2019s popularity), Aladdin<\/em> was a big hit on Broadway, as well as on national tours. It should come as no surprise, then, that the production had a featured performance at the 2014 Tony Awards. (You can view the performance from the telecast of the Tonys here: https:\/\/www.youtube.com\/watch?v=-UL0CDMhjj4<\/a>)<\/p>\n\n\n\n

For the performance at the Tony Awards, the Aladdin<\/em> company performed \u201cFriend Like Me\u201d, Genie\u2019s show-stopping introductory number. Taking place in the Cave of Wonders, the set certainly delivers on the expectations for what that might entail\u2014with dazzling gold- and jewel-covered pillars and a menacing stone background, it\u2019s a very detailed set that\u2019s even more astounding when seen live. The set prepares the audience excellently for the spectacle about to unfold as Genie begins to sing. Throughout the number, all sorts of factors come together to make the performance stellar. Various jokes in the words, music, and staging\u2014some obvious in the scene and some in reference to outside things, including a nod to the fact that the performance is at the Tonys (\u201cDance like you\u2019re holding a Tony!\u201d)\u2014keep the audience laughing; some magic tricks and pyrotechnics (although much less than in the context of the full show!) wow the audience; the dance breaks give great, extended opportunities for the orchestra and the chorus (as well as Genie & Aladdin) to shine (literally, to an extent); the lighting cues add to the changes in pace throughout (with the most noticeable moment being when the lights go blue for Genie\u2019s moment to rest from dancing to sing some \u201cclassics\u201d\u2014excerpts of songs from other Disney shows); and the music itself is just a blast.<\/p>\n\n\n\n

It\u2019s interesting to consider what the thought process was behind this song being selected for the Tony Awards performance. Most people wouldn\u2019t argue with selecting this song to represent the production as a whole, and there are several good reasons for that. In my opinion, the number is representative of what the show appeals to in the audience: there\u2019s an element of awe to it, it\u2019s funny and over-the-top, and Genie steals the show. (Oh, and apparently the actor for Aladdin is good-looking, for what that\u2019s worth from the comments on the video.) Having seen the production when it was on tour in Chicago, the scene in the Cave of Wonders was the one that stuck with me the most, so from that experience I would say it\u2019s a great number to show off the show.<\/p>\n\n\n\n

The number is also a great choice for performing at an awards show because it\u2019s a spectacle number and a show-stopper. What makes it even more applicable to this particular awards show is that the actor featured most prominently in the number was nominated to receive an award for that year. Genie\u2019s actor, James Monroe Iglehart, was nominated for (and actually won) the 2014 Tony for Best Performance by an Actor in a Featured Role in a Musical for his portrayal of Genie, and this number shows why. Iglehart sings or dances (often both simultaneously) for almost the entire four-and-a-half minutes of the number, and he hardly seems to break a sweat! Commenter Mica Xoxo points this out, stating \u201cHow does he move around that much AND sing at the same time and not pass out[?]\u201d Needless to say, Iglehart also sounds and looks great the entire time, adding to the impressiveness of his endurance.<\/p>\n\n\n\n

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“How does he move around that much AND sing at the same time and not pass out like I woulda been dead not even half way through the song” – Mica Xoxo, commenter<\/figcaption><\/figure>\n\n\n\n

The only dissent to be found anywhere in the comments section regarding the quality of Iglehart\u2019s performance is based solely on the popularity (and impression left on people\u2019s hearts) of Robin Williams\u2019s portrayal of Genie in the original animated movie, which, as commenter Kat Holland expressed, \u201cis a shame\u2026[because] these are two entirely different versions of the same song with different goals and different target audiences.\u201d (Kat Holland\u2019s comment was actually on the video with the Broadway cast album recording of the song, accessible here: https:\/\/www.youtube.com\/watch?v=0HdwdptrmQQ<\/a>) <\/p>\n\n\n\n

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“This is such a wonderful rendition of this song and I think it is a shame that people are comparing it to Robin Williams’ version instead of just appreciating the two completely separately.” – Kat Holland, commenter<\/figcaption><\/figure>\n\n\n\n

As great as Williams\u2019s performance is, one can\u2019t deny that Iglehart has a lot more work to do in bringing the role to life than just voice acting. The two mediums require very different things of the actors, and the stage has very different limitations (as well as benefits) from animation\u2019s limitations (and benefits). If this were a live-action movie instead of a live performance, there would be yet more completely different aspects available for comparison, but even as commenters discuss how everything seems to look for the upcoming Aladdin<\/em> movie (featuring Will Smith as Genie), it\u2019s not completely fair to judge them against each other as \u201cbetter\u201d or \u201cworse\u201d without addressing the differences in art form. (Anyone wanting to watch the version of the song from the original animated movie can do so here: https:\/\/www.youtube.com\/watch?v=99Op1TaXmCw<\/a>)<\/p>\n\n\n\n

Often just as noteworthy as what a chosen number to perform at the Tonys does showcase is what the number doesn\u2019t showcase about the production. There are a lot of leading and supporting characters who don\u2019t participate in this number, with Jasmine & Jafar being the main two. In this particular case, there is no reason for me to question the validity of the decision considering everything said above, but it\u2019s still interesting to point out (and perhaps someone else would want to expand on it).<\/p>\n\n\n\n

Having seen the touring production on Broadway in Chicago twice during the summer of 2017, I can say with complete sincerity that this scene was even more spectacular live. The Cave of Wonders and the scene taking place inside it took my breath away and stuck with me both times. Commenter Caleb DeLaBruere agrees with me, stating: \u201cI got to see this show live on Broadway, and let me say, the video doesn\u2019t do it justice. It\u2019s even better in person, and I\u2019ve heard of instances when the genie gets a standing ovation at the end of this act.\u201d <\/p>\n\n\n\n

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“I got to see this show live on Broadway, and let me say, the video doesn’t do it justice.” – Caleb DeLaBruere, commenter<\/figcaption><\/figure>\n\n\n\n

Commenter mermermer123 brought to the attention of those reading the comments that \u201cthey made the song shorter for the Tonys!!!\u201d, supporting how Iglehart\u2019s performance is even more impressive in the context of the show by virtue of there being more that he does during the number. The number was indeed reduced to fit the slot for the Tony Awards, as is made evident by the length of the cast recording of the song. The Tony Awards performance is greatly reduced in length from the 7\u201935\u201d recording, which itself is also cut down (as big numbers frequently are on Broadway cast albums) from the full version performed in the show. <\/p>\n\n\n\n

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“And just think they made the song shorter for the Tonys!!!” – mermermer123, commenter<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

One of the biggest changes to Broadway in the last 25 years was when Disney began to expand its entertainment behemoth onto the live stage. Following the success of its first Broadway production (Beauty and the Beast, opening in 1994) and most famous & successful so far (The Lion King, which has been running for … <\/p>\n

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