It’s hard not to think of "Aladdin" as anything more than an overdone panto: a traditional story, high in moral fibre and unforgettable lyrics, except stuffed with more cheese and contentious humour then a pizza takeaway with the lads.

With this in mind the thought of watching Disney’s "Aladdin" in the West End’s Prince Edward Theatre didn’t exactly set my heart racing, but after riding high on wave after wave of razzle dazzle, this fabulous adaptation really does take you away on a magic carpet ride to a faraway place that you don’t want to leave.

Disney’s "Aladdin" is sweet, silly fun and perfect for all the family to enjoy. It's not the most sophisticated entertainment, but with mesmerising sets, witty gags and mammoth dance productions that make Elizabeth Taylor's Cleopatra entrance look like a casual stroll, it’s difficult to imagine a patron of any age leaving without smiling from ear to ear.

Don’t get me wrong, the show isn’t without its flaws. Aladdin’s monkey Abu has been replaced with a slapstick trio of sidekicks who don’t come into their own until after the intermission and Jasmine’s tiger has been axed in favor of a trio of potential suitors for Aladdin’s pals. Jafar, the story’s villain, has also been downgraded from sinister sorcerer to silly schemer but, along with his babbling sidekick Iago, instead bring just enough fun and wit to proceedings that ensure a villain pairing who don’t leave little ones in the audience from wanting to leave before that inevitable interval ice-cream.

The shows’ jaw-dropping moments are nicely spaced and the fluidity and motion of the set changes mean that breaks are not too long. Featuring all the songs from the film ready to sing-a-long to, the score beautifully combines these with new additions and breezy jokes about pyramid schemes and sassy Jasmine’s disobedient feminist streak (“Why are you so determined to pawn me off to any Tom, Dick or Hassim that comes our way?” she huffs.)

"Aladdin" may be named after its lead street urchin character, but really it is all about one character: the Genie. Trevor Dion Nicholas steals the show from the first line with his infectious personality and his performance is so outstanding that his take on “Friend Like Me” stopped the performance with thunderous applause and a standing ovation.

It’s well choreographed; with a chorus of whirling valets and showgirls, a ballroom break, a step of a hoedown, a game-show interlude, a mini-medley of Disney tunes from other musicals and an exuberant tap routine finale. It’s the number you’ll leave the theater talking about. This is a Genie who works so hard you wouldn’t be surprised to find him continuing to grant wishes at the stage door as you leave.

If the Genie could grant me one wish, it’s to tell me how they pull off that magic carpet ride?

Seriously, it’s amazing.

This fringed two-seat Persian hovercraft, er, rug, floats up, down and all over the place, carrying Aladdin and Princess Jasmine far away into an extremely twinkly sky. For such a big number, the chemistry between Aladdin (played by Dean John-Wilson) and Princess Jasmine (Jade Ewan of Sugababe fame) was just ever so slightly lacking, but in only their second public performance together, who am I to criticize? Even Rachel and Ross (Friends) were together for 11 seasons before they finally moved past that ‘break’…

After all, this is a musical comedy, and in that sense, “Aladdin” is exactly what you wish for. After just a few days, the show has already extended it’s booking into 2017. So If I were you, I’d book now and hop a carpet ride and fly to another Arabian night. 

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By Daniel Cullen

Dan (loving father of an 'already teenage' 3 year old daughter) is a lifelong theatre fan who, having watched it 3 times, would happily pay to watch Wicked a 4th, and a 5th, and a 6th time… Yes, he probably could recite the lyrics of Defying Gravity - you tell him of a theatre goer who couldn’t? If they can’t they are lying…