I saw the Seattle production, and was delighted that they specifically requested feedback from the audience (I've often wanted to send hints to directors of shows in previews, but never knew how!)
Here were my suggestions for changes--will be interested to see how many they agreed with:
I really think it just needs tweaking ... structurally, it worked for me, but moments aren't landing.
1. Aladdin needs an arc, so he can't just be a sweet boy who wouldn't steal (especially when he sings about stealing!), he should be a young con artist type, the worst of his friends ... good on the inside, but with a chip on his shoulder ... you know the type. Let him steal the bread with bravura, not accidentally catch it when Kassim throws it. His friends should be appalled: "you promised your mother you wouldn't steal!" Aladdin comes back with a defensive "she's dead, she doesn't know," and they can point out she's looking down upon him etc., and that leads into "Proud of Your Boy" (which is gorgeous, and I'm so glad it's in there, but it's being squandered).
2. Breaking the fourth wall needs to be confined to the Genie, period. Prop camel costumes are clever, until they're mentioned, and then it's ruined. Ditto every other instance of this. Similarly, "Arabian Nights" doesn't need to be sung in any other style for variety's sake, that was just weird.
3. "A Whole New World" is the best known song in the show, so it's a little boring just watching it sun in front of twinkly lights, no matter how pretty. It doesn't look like they're going anywhere or seeing anything ... start with the shadow puppet effect, do sillhouettes of the pyramids, Taj Mahal, Eiffel Tower, travelling across the back so it looks like they're going somewhere!
4. Jafar's plan is not clear, and I'm a really attentive audience member, I promise! I think it needs to be set out more baldly, and with a henchman already in place that should be easy to do. As his plans change, I want to follow his process.
5. I'm a huge, huge fan of the director/choreographer and think Drowsy Chaperone and Book of Mormon are two of the best things I've ever, ever seen on Broadway (I'm an annual visitor), but much of the big dance numbers (with the notable exception of "Friend Like Me") seemed messy and busy rather than clever and apt. One messy-busy number is acceptable, but not most of them! Similarly, too much by-the-numbers swordplay in "High Adventure" (great, great song), and not enough surprise.
6. The leading man is toothsome but not bringing anything extra to the part.
7. Much of the dialogue feels like a placeholder for better, more interesting lines (e.g. Jasmine and friends in her bedroom when we first meet them); it needs doctoring up (or the writer could have another, more considered go at it). Again, I think structurally it's sound, but it's very first drafty.
8. Less is more ... instead of several set pieces sliding around to create the Market, it's more fun to leave it static and stage around it, esp. for "One Jump" ... stage is different, it doesn't need to be constantly on the move like the movies do to be thrilling. How about the useful incorporation of freezes ... blurt of action, hilarious pose from the soldiers, freeze, and Aladdin sings ... then they move for for two beats, then freeze ... just a thought!
Thanks so much for providing a venue for feedback ... so often I see little things that could use fixes (and most of this are little, at least in cost terms!) and wish I had a voice.
Cheers,
Ash
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