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This image released by The Publicity Office shows Ramin Karimloo during a performance of the musical ‘Les Miserables’. (AP)
Gloomy, glorious ‘Les Miz’ returns Disney hits magic again with ‘Aladdin’

The barricades have once again gone up on Broadway. Are they worth dropping everything and joining this time? The answer is a resounding “Oui!” Bring your flag. The well-traveled “Les Miserables” has rolled into town for its third bite at the Broadway apple — not to mention fresh off a celebrated 2012 film — but there’s nothing tiresome about its gloomy, aching heartbeat. Directed this time by Laurence Connor and James Powell, with new orchestrations, stagecraft and costumes, this terrific “Les Miserables” opened Sunday at the Imperial Theatre, capping a national tour that began in 2010. It’s beautifully sung and acted — Ramin Karimloo, Will Swenson, Caissie Levy and Nikki M. James as leads can do no wrong — and the clever sets, superb lighting and moving projections highlight a creative team fully embracing Victor Hugo’s epic novel about good and evil, revolution and romance, in 19th-century France.

It boasts music by Claude-Michel Schonberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel. Producer Cameron Mackintosh was sold on reviving the show after learning that set designer Matt Kinley was inspired by the paintings of Hugo, which are often brooding, eerie and romantic. His images of Paris infuse the production — augmented by enough fog to host a heavy metal festival — and, together with golden beams of lighting by Paule Constable, leave the actors looking a bit like they’re in paintings themselves.

Projections by Fifty-Nine Productions are subtle until brilliant, especially the plunge into the sewers in Act 2. There is no massive spinning turntable on the stage, as in previous incarnations, but it isn’t missed.
Karimloo stars as Jean Valjean, the former prisoner No. 24601 who is the moral center of Hugo’s historical tale. Karimloo, a Mackintosh favorite in London, makes a tremendous Broadway debut, starting out as a feral, muscular animal out of chains and leaving an unsteady old man in grace. His falsetto sung prayer “Bring Him Home” is sublime. Swenson is ramrod straight as Inspector Javert, a man so in control of his emotions that even his speech is hyper-punctuated. Unrelenting and stingy with mercy, Swenson has the slightly unhinged quality of a bloodhound, a performance that explains why he must take desperate measures when doubt creeps in.

Levy as the doomed Fantine is lovely and her “I Dreamed a Dream” mixes rage and pitifulness into a tour de force. Samantha Hill as Cosette, James as Eponine and Andy Mientus as Marius are glorious in their romantic triangle. Even the little kids in the cast are cool.
With so many scenes veering toward the overwrought, the directors have wisely offered comedic moments — a masterful “Master Of The House” led by the ribald Cliff Saunders and Keala Settle — and ones to reflect quietly, as in the simple, ghostly, candlelit Marius-sung “Empty Chairs at Empty Tables.”
There is a cinematic quality to this production — though it predates the Tom Hooper film version — that includes fast scene changes and even the title superimposed on the back wall, in case we needed reassurance which show was on. The barricades are smartly backlit and the action spills into the theater’s box seats.
The hits keep coming, and thanks to reprises, keep coming: “I Dreamed a Dream,” “Do You Hear the People Sing?” and “One Day More.” The melodies are as grandiose as the story. And here, the voices and look of the show wonderfully match. Bring your flag.

The Genie in the big new Broadway musical “Aladdin” opens the show with a bang, sets up the story and then — poof — he’s gone. “Try not to miss me too much!” he says, tauntingly, as he leaves.
The trouble is, it’s hard not to. James Monroe Iglehart is just so magically delicious as the guy in the lamp that the show sometimes feels like its holding its breath until he reappears.
That’s not a knock on this perfectly lovely adaptation of the 1992 movie that opened last Thursday at the New Amsterdam Theatre with a score that’s already won an Oscar. It’s just that Iglehart is on a different planet.
It’s spritely directed and choreographed by Casey Nicholaw, well sung by a huge 35-person cast wearing an alarming number of harem pants, and hits that sweet spot Disney Theatrical Productions do so well, a saccharine fairy tale for the kids cut by some sly, vinegary quips for their parents.

The story by Chad Beguelin hews close to the film. A street urchin finds a genie in a lamp and hopes to woo a princess while staying true to his values and away from palace intrigue. Or, as Beguelin acknowledges: “It’s the plot that you knew/with a small twist or two/but the changes we made were slight.”
Full credit to Beguelin for gently mocking musical theater throughout, as when the Genie comments on a stage surrounded by high-energy dancers: “Even our poor people look fabulous! And everybody has a minor in dance!”
The key Alan Menken songs from the film — including “Friend Like Me,” “Prince Ali” and “A Whole New World” — are back, as well as songs dropped along the way — “High Adventure” and “Proud of Your Boy” — that get well-deserved rebirths.
New songs include the nice “Diamond in the Rough” and “A Million Miles Away,” which sounds and functions a little too much like “Santa Fe” from nearby Menken show “Newsies.” The lyricists are the late Howard Ashman, Tim Rice and Beguelin.

Adam Jacobs stars as a sweet, hunky Aladdin — or “Al” as he’s called — and Courtney Reed is his stunning-looking Jasmine, in a little need of some theatrical seasoning but with grooming seemingly straight off Bravo’s “Shahs of Sunset.” A welcome bit of casting is having Jonathan Freeman return as Jafar, the same role he voiced in the animated film. He is simply delicious, relishing his evilhood. One of the biggest obstacles into turning this property into a stage musical has been the blue elephant in the room, the Genie. How can you possibly have a real actor play the shape-shifting, manic talking spirit that Robin Williams so wonderfully portrayed on film? You apparently hire Iglehart, a cartwheeling, high kicking big man who can sing and goof. His extended scene in a cave prompts some theatergoers to give him a standing ovation — and the show’s not even half over.

That moment is a wonder to behold as Iglehart performs “Friend Like Me” during a dozen or so skits — game show host, magician and then, hysterically, does a medley of other Disney hits including “Beauty and the Beast” and “Under the Sea.” Disney badly needed a friend like this. Other smart touches include Don Darryl Rivera stepping in for the parrot Iago as Jafar’s wisecracking aide, and three thieves — Brian Gonzales, Brandon O’Neill and Jonathan Schwartz — as Aladdin’s pals and comic relief. (“I feel awful,” one says. Replies another: “Falafel? Did somebody say falafel?”) In comparison to the zany sidekicks, the lovers are kind of milquetoast. (AP)

Bob Crowley delivers on another dazzling Disney design, this time a whimsical set of movable pieces that echo Islamic geometric designs and Middle Eastern marketplaces. He does a thrilling Cave of Wonders, and there’s a flying carpet that moves nicely in front of a starry night sky, though the princess seemed a little freaked out. Director Nicholaw juggles all of this with supreme skill, perfectly pacing the romantic with the comedic and the dancing, which leans heavily on traditional belly dancing and “Walk Like an Egyptian” moves. But for all his skill, he must have rubbed his own magic lamp to get this Genie. (AP)

By Mark Kennedy

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