Broadway Breakdown: "The Magical Making of Disney's Aladdin on Broadway"

Host: Matt Koplik
Episode Date: August 19, 2024
Main Theme:
This episode is a special behind-the-scenes exploration of the creation and evolution of Disney’s Aladdin on Broadway, celebrating its 10th anniversary. Host Matt Koplik presents a preview of Broadway Podcast Network’s new series, “The Magical Making of Disney’s Aladdin,” hosted by Frank DiLella, which reveals the untold stories and creative challenges on the show's tumultuous journey from a Disney animated classic to a Broadway phenomenon. The episode features insights from key creators including Alan Menken, Tom Schumacher, Chad Beguelin, Casey Nicholaw, and others.

Key Discussion Points & Insights

1. Aladdin’s Unlikely Road to Broadway

• Initial Skepticism: The Broadway version of Aladdin was never originally intended for Broadway. Early out-of-town runs, particularly in Toronto, drew concern and negative feedback from critics.
  • “It almost didn’t go to Broadway due to reasons. Luckily…” – Matt Koplik ([00:12])
• Turning Point: Despite skepticism, the creative team pressed on, making numerous last-minute changes before its Broadway debut in 2014, where it found great success.
  • “Through sheer determination and a leap of faith, the team pressed on.” – Frank DiLella ([02:08])

2. Original Film’s Conception and Musical Roots

• Alan Menken and Howard Ashman’s Vision:
  • The original Aladdin film started as a “buddy picture” with Aladdin and three sidekick friends—Babkak, Omar, and Kassim—as street performers.
    • “The original concept was it was like a buddy picture. … We had all these songs that when it was decided that we really wanted to be more of a romance…the mother got cut and the sidekicks got cut.” – Alan Menken ([03:50])
  • After Howard Ashman became too ill to continue, Tim Rice joined Menken to finish the film’s songs.
• Translating to Stage:
  • Menken was adamant about restoring cut material by Ashman for the stage version, including “Proud of Your Boy” and “High Adventure.”
    • “…I said, no, no, guys, no, this is. We have to go back and incorporate the material that Howard and I [wrote]. … It was a goldmine.” – Alan Menken ([04:41])

3. How the Stage Version Was Conceived

• Seed of the Idea:
  • Chris Montan, music executive at Disney, was moved during a workshop performance, inspiring the notion of pushing the show to Broadway.
    • “He turns to me in the middle of ‘High Adventure’…and he goes, why isn’t this show on Broadway?” – Tom Schumacher ([06:15])
• Strategic Development:
  • Initially, the full-length show was designed for licensing to regional theaters, with Broadway merely a distant possibility.
    • “People kept coming…saying, could we have a two hour version? … There’s probably a market there.” – Tom Schumacher ([07:04])

4. Creative Collaboration & Song Integration

• Chad Beguelin’s Role:
  • Brought on as book writer and lyricist, Beguelin worked closely with Menken to reincorporate lost Ashman lyrics and songs, balancing familiar favorites with new material.
    • “Main task … was to sort of get these songs in and make it seem as if they were always meant to be this way.” – Chad Beguelin ([10:03])
  • Strategic placement of songs—well-known numbers versus cut gems—was a major focus. New song “Somebody’s Got Your Back” was quickly composed to fill a narrative gap.
    • “Somebody’s got your back was the last thing we wrote. … Alan in five seconds, played it.” – Chad Beguelin ([11:41])

5. Translating Characters from Animation to Stage

• Avoiding Robin Williams Imitation:
  • The creative team purposefully reimagined Genie, avoiding a Robin Williams impersonation by aiming for a jazzy, Cab Calloway-inspired flavor for stage.
    • “No one wants to see an imitation [of Robin Williams]. … the genie was a Cab Calloway type character. … set the tone for the rest of the show.” – Chad Beguelin ([13:11])
• Discarded Concepts:
  • Many original ideas never made it: Jasmine as a minor role, a tomboy named Gabby, two genies (one of the lamp, one of the ring), and more.
    • “There were two genies. … So many things … some of it was really, really helpful, and some…was just like, ‘We’re not adding another genie.’” – Chad Beguelin ([13:56])

6. Early Productions: Seattle & Evolution

• Seattle Trial Run:
  • Not intended for Broadway, the Seattle staging was experimental and markedly different, with meta-jokes, minimal magic, and a “magic carpet” that was literally a mattress on a stick.
    • “It was kind of more meta … one of the lines at the beginning was like, ‘Where’s Aladdin?’ … then [he] swung out on a rope … he was like 6 inches off the floor. … there was no tap in it.” – Casey Nicholaw ([15:14])
    • “The magic carpet was a mattress on a stick, right? … It was so sad. It was so sad.” – Casey Nicholaw ([15:55])

Notable Quotes & Memorable Moments

• On restoring Ashman’s cut material:
  • “I want to get as much of the cut Howard Ashman lyrics into the stage version. So that was the main task for Seattle.” — Chad Beguelin ([10:03])
• On the quickly-composed new song:
  • “We went into the basement … Alan in five seconds, played it. I recorded it on my phone and went into the show like, three days later.” — Chad Beguelin ([11:41])
• On Genie’s new vibe:
  • “No one can top [Robin Williams]. ...their original concept was that the genie was a Cab Calloway type character. We thought that was amazing…” — Chad Beguelin ([13:11])
• On the Seattle production’s low-budget charm:
  • “The magic carpet was a mattress on a stick, right?...It was so sad.” — Casey Nicholaw & Frank DiLella ([15:55])

Timestamps for Key Segments

• [00:00] – Matt’s introduction; context for Aladdin’s Broadway history
• [01:31] – Frank DiLella’s overview; obstacles on the road to Broadway
• [03:50] – Alan Menken on the original film, Ashman’s involvement, and lost songs
• [06:15] – Tom Schumacher on conception of the Broadway version and workshop feedback
• [07:52] – Chad Beguelin joins to discuss inserting Ashman/ Menken songs in the stage version
• [11:41] – How "Somebody’s Got Your Back" was created last-minute
• [13:11] – Chad Beguelin on reimagining the Genie for stage
• [14:56] – Casey Nicholaw on the Seattle version’s creative choices (and mishaps)
• [15:55] – The infamous mattress-on-a-stick “magic carpet”
• [16:24] – Matt wraps up with his personal, passionate endorsement of the series

Tone & Style

The tone is passionate, occasionally irreverent (“foul-mouthed theatre geek” vibes from Matt), and full of juicy Broadway backstory. Dialogues are candid and peppered with inside anecdotes—ideal for both showbiz insiders and fans.

Conclusion

If you love Disney, Broadway, and deep dives into creative process—with all the gossip, setbacks, and triumphant fixes along the way—this episode is a compelling, entertaining listen. The previewed series promises even more secrets and detailed stories about Aladdin’s transformation from animated classic to a Broadway hit, making it a must for theatre lovers.

“It’s Disney, it’s Broadway, it’s juicy gossip, it’s insightful anecdotes, and look into the creative artistry of theater that we love.”
— Matt Koplik ([16:24])

Listen to the full series via Broadway Podcast Network or your favorite podcast platform.