Another original take on an old theme is Kapitall Kids Theatre’s holiday production The Genie, The Lamp and Aladdin written and directed by Rodney Bane. When Aladdin (Richard Dasan), known as Al, finds an old lamp which he rubs the inevitable Genie (Benjamin Haddock) materialises, effectively done in this production. 

A very genial Genie, he grants Al three wishes.  But … [More]

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In the tradition of many a folk tale (and nursery rhyme), Rodney Bane’s The Genie, The Lamp and Aladdin is imbued with topical satire for the politically savvy while the romantic heroic adventure tropes play out for the primary audience.

Genie (Cornelius Genius Winthrop the Third; Rap name, Puff Genie) is trapped in a magic lamp which young Al (Aladdin) just happens to find and rub. But not before he has shaken it a lot, trying to remove the lid. The inside/outside staging here is as simple as it’s effective.

The rules are soon established about how the whole ‘three wishes’ thing works, with kindness and politeness looming large as positive qualities in a good human being.

It turns out a benign and caring royal family has been overthrown by a greedy, self-serving dictator – Azabanaza – who is negotiating an international trade treaty that will make the poor people suffer. And (as an aside, not visible in the on-stage action) she is distracting the masses by changing the flag.

Azabanaza is able to enslave Princess Rubi (Balrubidore) as her ‘personal assistant’ because she has imprisoned the King and Queen in the dungeon and will do dreadful things to them if Rubi doesn’t cater to her every whim. Thus the stage is set for Al to use his new-found powers for good and for the inevitable love story to play out.

But all does not run smooth. There is a State Ceremonial Sword that interferes with the Genie’s magic. Some excellent stage business arises from everyone’s attempts to get hold of the Lamp, the Sword and the Treaty and keep them away from Azabanaza.  

Benjamin Haddock is a genial and gentle Genie with some tricky dance moves. Richard Dasan brings a nice light touch to Aladdin. Sarah Andrews Reynolds revels in the evil doings of Azabanaza. Jessica Brien has all the right qualities as Princess Rubi and is especially good in the singing and dancing routines (choreography by Kira Josephson).

Technician Aaron Blackledge punctuates the well-paced action with dynamic and often amusing sound and lighting effects.

The Genie’s toy monkey, Habib, seems redundant to the action. The imprisoned King and Queen are forgotten about. More could be made of the three wishes element, to bring out the central theme of personal profit versus public good. But the “greed is not good; good is great” message does get delivered.

At the opening show the small audience is into it, and very vocal in ways that show they onto it and not to be trifled with. Hopefully as the season progresses audience participation will become more interactive and productive.

Overall the live and lively presence of The Genie, The Lamp and Aladdin is a good antidote to the electronic media that pervades so many young lives these days.

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