Based on the (teensy bit) popular 1992 Disney film and hugely successful Broadway show, Aladdin has finally arrived in the West-End. As one would expect from Disney, MEGA BUCKS have been thrown in and oh my, it looks insane.

I’m sure many would agree that it was high time another beloved classic arrived in London, what with Broadway totalling up seven Disney productions in the last twenty years. Greedy. Alan Menken’s original Academy Award winning score is present, with numbers such as ‘Arabian Nights’ and ‘A Whole New World’ as well as new additions giving devoted eager beavers a huge helping of nostalgia as well as an agreeable wave of freshness.

The aesthetics are fierce. The combined talents of Bob Crowley’s set, Lighting and Illusion Designers Natasha Katz and Jim Steinmeyer have created the sort of spectacle everyone wants to see but still has enough extra impact to wow. The warm, earthy tones are beautiful and the depth created on stage, particularly in the cave scene (an absolute pinnacle) leaves one wondering how it all fits in one space. Whereas past West End shows have tried and failed to use projection as a means to enhance quality, instead creating an unfortunate amateur feel, Aladdin has manipulated it to its fullest ability. Gregg Barnes’ costumes are equally exceptional, merging and contrasting perfectly with the various scenes.

Dean John-Wilson’s Aladdin is a joy to watch, carrying enough conviction and charisma to make his and Jasmine’s (Jade Ewen) snappy relationship almost seem real. Ewen doesn’t appear to be completely dedicated to the part, nor to John-Wilson, keeping the voyeur at arm’s length. Her voice, however is undeniably strong and it would have been nice to hear more of it. Don Gallagher and Peter Howe’s Jafar and Iago are good but feel more like pantomime villains.

Trevor Dion Nicholas’s Genie is fabulous. Maintaining the lovable and comedic element of Robin Williams’ film version, he makes the role his own with enough sass to make Nicki Minaj and Beyoncé cower in terror. Again, it is a shame that his amazing singing voice is not used nearly enough.

Whilst the production looks ridiculously hawt (that magic carpet scene is worth the wait) and a tap number reminiscent of A Chorus Line, rather than baffling in its randomness, just adds to the spectacle, there’s much that feels unnecessary. Cheap and all too frequent jokes are tiring and particularly those at the expense of Aladdin’s slightly bigger friend Babkak (Nathan Amzi) who apparently only ever thinks about food. Of course. I felt offended for him, myself and for others much too intelligent too fall for such overdone and frankly dull stereotyping. Even Genie, who has much to offer becomes a victim of body obsession.

Generally, Aladdin is very enjoyable and looks fantastic. The jokes are disappointingly thin and the tone, predominantly cheesy but the message of equality is a rousing one and the performances, especially from Nicholas’s Genie and John-Wilson’s Aladdin are spot on. You may also just wee a little as the magic carpet first takes flight.

Aladdin is booking at the Prince Edward theatre until February 11 2017. For more information and tickets, see