I have to start by mentioning how blown over I was with Trevor Dion Nichols who played the Genie, an iconic character anyone will admit, being portrayed by the late and great Robin Williams in the 1992 animated film. Nichols had played the Genie on Broadway, I think as an understudy or replacement, but recently relocating to London to star in the West End production of Aladdin. He was by far the most charismatic, talented, funny and wonderful person on that whole stage. He certainly was the star of the night and that showed in the response he got from the audience, most standing to applaud such an energetic performance. He has the best song in the show, ‘Friend Like Me’ and boy does he do it justice. A 7 minute, non-stop musical number, with a Disney medley honouring the work of Disney legends Howard Ashman, Stephen Swartz and Alan Menken with Beauty and the Beast, Pocahontas and The Little Mermaid, being featured. This was also one of the most visually amazing parts of the show. It involves magic, glitter, quick changes, illusions and an explosion of confetti into the audience. I cannot get over this one scene; I want to see it over and over again. There are clips on the Internet of the Tony performance but this does not capture one bit how amazing it is to sit among it, plus it is a snippet of the full scene. If you do not enjoy anything else about Aladdin, Nichols’ performance will have you gagging for more and he will draw you in to the Arabian magic. I have to admit apart from Nichols I was not blown away by the rest of the cast. I had seen Dean John-Wilson recently at the St James’ Theatre in Miss Atomic Bomb where I thought he was really good. Thus I was really looking forward to seeing him as the protagonist in this show which had received fantastic reviews. I am not sure what it was but I thought his voice was not the best and no way compared to Nichols’. The same was said for Jade Ewen playing Jasmine. A former Sugababe I was having high hopes for this performance, again I was completely underwhelmed. The songs sung by Ewen and John-Wilson did nothing for my inner romantic side, so ‘A Whole New World’ was disappointing, vocally, not visually (wait!). Jafar was played by Don Gallagher who is a well-known TV and stage actor but I felt this performance was very panto-esque (I love a panto, but there is a place and time). Whether this was aimed at the kids I am not sure. I enjoyed Peter Howe as Iago, who does the most fantastic human version of an animated parrot, the reference to Iago as a parrot in the film was good and he even sounded like the Iago in the film. Irvine Iqbal played the Sultan, who albeit not in it much had a really amazing voice so it was a shame he only really has one (big) number. Instead of the monkey Abu as Aladdin’s side kick he has three mates, Babkak, Omar and Kassim (I liked Kassim, played by Stephen Rahman-Hughes), and I understand it would have been difficult to portray a tiny monkey on stage, but I think I would have preferred a monkey as opposed to three mates, although there is a reference to Abu in the Prince Ali number. Also there is no tiger (Rajah). I think the creatives of Aladdin outweigh the cast by a million, excluding Nichols’ of course. With the hero of Disney, a god of musical theatre and a talent not many can top, you can’t really go wrong when you have Alan Menken writing the music for a stage show, and again this is something he has exceeded in. With old classics such as Arabian Nights, One Jump Ahead, Friend Like Me, Prince Ali and of course A Whole New World what can go wrong. With lyrics by the late Howard Ashman, Tim Rice (another fantastic Disney and Musical theatre lyricist) and Chad Beguelin (who also writes the book) it really is a fantastic score. It was great to hear some of Ashman’s work that was cut from the original animated film, the song Proud of Your Boy I have fallen in love with and High Adventure is a catchy little number too. I always think it is hard to beat the classics and the newer songs which were written for the stage version don’t live up to the classics. A Million Miles Away was a bit flat for me, although hearing it on the Broadway cast album does sound better and ‘These Palace Walls’ has been forgotten. Some of the scenes were absolutely beautiful and were mesmerising which is not an over exaggeration at all. Scenic design was by Bob Crowley, illusion design by Jim Steinmeyer, and Lighting by Natasha Katz. The scenes start to become out of this world with Diamond in the Rough leading to Friend Like Me. The stage turns into an actual Sahara goldmine. Everything is so sparkly and dazzling, the lion sand monster comes to life and you just do not know where to look. The transformation of the stage during Friend Like Me and the illusory effects are just fantastic and it really gives off that magical vibe. I cannot give too much away as it will spoil the show if you see it. Katz does an amazing job with A Whole New World, again the stage transforms into the night sky, with shooting stars, perspective changes and the love between Jasmine and Aladdin comes to life with the lighting arrangements. It really was a spectacular moment, and yes there is a magic carpet ride, beautiful! All of this wonder is added to by the gorgeous costume design by Gregg Barnes. From the dramatic bold colours off all the characters to the innocent and rich white of the Prince and his entourage they were all so beautiful. The Arabian feel for costumes was definitely captured within the costumes and there was so much bling it was fabulous. Some of those costumes are bound to have weighed a ton (I should know I spent a good 20 minutes at the V&A trying them on). And I am assuming this would be down to make-up design (Milagros Medina-Cerdeira), anyway whose ever idea it was to put glitter on the bald head of the Genie, for me this was the icing on the cake, or the glitter on the head (haha! Bad joke sorry). If (or when) I go bald at least I have the comfort of knowing I can sparkle in the light of having no hair with body glitter on my head, YES! To read the full review please visit - http://musicaltheatreaddict.blogspot.co.uk/2016/07/aladdin-prince-edward-theatre.html

The seats were great. I could see all what I wanted. I could see the whole stage, all the scenery and the faces of those in it. The only thing that could have made it amazing was to be a little further forward as the confetti that shoots into the audience did not reach me.

Like every other review of this show ever written, I have to start by extolling the talent of Trevor Dion Nicholas. Without his exuberance, energy, charm and charisma, this show would be a shadow of what it is. He, not Dean John-Wilson, is the centrepiece of this show, and it is utterly criminal that he doesn't bow last. His performance remains the best thing I have seen on the west end, and I expect that accolade to remain his for a long time. British reservedness means standing ovations are a dying art, but this man brings people to their feet. My only complaint is that it's sometimes hard to drag your eyes off him and take in the rest of the show. Dean John-Wilson is a chronically disappointing Aladdin, who doesn't really drum up all that much emotion - his parents are dead and he's nothing but a street rat! But he's pretty chill about it. He's fallen in love with the Princess! But he's pretty chill about it. He's locked in a dungeon in the palace! But he's pretty chill about it. He has to wear a waistcoat every day! But he's pretty chill about it. He is underwhelming, and there are several moments when the show falls flat because of it. The rest of the cast are a powerhouse of talent, and the sets, stage effects and costumes are a visual spectacle like no other. It's a super fun time, and I hope it stays forever - or for as long as Trevor Dion Nicholas is prepared to step into his magic lamp every night.

This seat is what dreams are made of: there's an aisle in front of you, giving you excellent legroom, and the view is phenomenal. This seat has the benefit of being directly central too - easily the best seat in the house.

As a Disney fanatic I wanted to love this show but unfortunately I have mixed feelings. It is nothing like what Disney have done with the lion king and so maybe I had my hopes up. There are a lot of changes from the movie and a lot of new songs, which I wasn't particularly a fan of. There is also a lack of key characters and scenes. No spoilers so you would have to watch it (or of course read other reviews!). The replacements for these characters and alternate scenes, likewise did not make me a fan of these changes and I just really wish it was more like the classic movie and story line. The show almost felt like a blend between panto and theater in areas. There are a few scenes with 'fireworks' and these were dazzling and blinding! A bit OTT rather than in awe! I can't imagine if someone was epileptic! I also felt the actors spoke way too fast from the start of the show throughout. This does not so much apply to the genie scene the show opens with (this may be as most of his lines are in song however). Overall it is worth seeing and is a good, fun, family friendly show. However, if you love Disney and are torn between seeing Aladdin or the Lion King on a visit to London. Choose the Lion King.

I was really impressed with the view from this seat. I had a good, close view of the stage and everything going on and could see the actor's faces clearly. Due to the curve of seating you feel fairly straight on to the stage. Due to the height of the stage in relation to the seat, I felt my eyes were completely level with it, giving me an even better view. This alone means I can recommend this row. If I was a few more seats to the left the overhang of balcony seats may have been above us but these seats were ideal and I can happily recommend these seats. Comfy seat. Average OK legroom.

As a Disney fanatic I wanted to love this show but unfortunately I have mixed feelings. It is nothing like what Disney have done with the lion king and so maybe I had my hopes up. There are a lot of changes from the movie and a lot of new songs, which I wasn't particularly a fan of. There is also a lack of key characters and scenes. No spoilers so you would have to watch it (or of course read other reviews!). The replacements for these characters and alternate scenes, likewise did not make me a fan of these changes and I just really wish it was more like the classic movie and story line. The show almost felt like a blend between panto and theatre in areas. There are a few scenes with 'fireworks' and these were dazzling and blinding! A bit OTT rather than in awe! I can't imagine if someone was epileptic! I also felt the actors spoke way too fast from the start of the show throughout. This does not so much apply to the genie scene the show opens with (this may be as most of his lines are in song however). Overall it is worth seeing and is a good, fun, family friendly show. However, if you love Disney and are torn between seeing Aladdin or the Lion King on a visit to London. Choose the Lion King.

I was really impressed with the view from this seat. I had a good, close view of the stage and everything going on and could see the actor's faces clearly. Due to the curve of seating you feel fairly straight on to the stage. Due to the height of the stage in relation to the seat, I felt my eyes were completely level with it, giving me an even better view. This alone means I can recommend this row. If I was a few more seats to the left the overhang of balcony seats may have been above us but these seats were ideal and I can happily recommend these seats. Comfy seat. Average, OK legroom.