BroadwayNew Amsterdam Theatre (previews from 26 February 2014, opened 20 March 2014)
LondonPrince Edward Theatre, London  (previews from 27 May 2016, opened 15 June 2016, closed 31 August 2019)

Directed and choreographed by Casey Nicholaw (The Book of Mormon)
Music by Alan Menken (Beauty and the Beast)
Lyrics by Howard Ashman (Beauty and the Beast), Tim Rice (The Lion King) and Chad Beguelin (Elf)
Book by Chad Beguelin

Scenic Design: Bob Crowley
Costume Design: Gregg Barnes
Lighting Design: Natasha Katz
Sound Design: Ken Travis
Music Supervision: Michael Korsarin
Orchestrations: Danny Troob
Dance Music Arrangements: Glen Kelly
Hair Design: Josh Marquette
Makeup Design: Milagros Medina-Cerdeira
Illusion Design: Jim Steinmeyer
Special Effects Design: Jeremy Chernick
Fight Direction: J. Allen Suddeth
Associate Director: Scott Taylor
Associate Choreographer: John MacInnis
Casting: Jill Green CDG

Production Photo Gallery – London

Production Photo Gallery – Broadway

Aladdin Musical Broadway soundtrack
Buy at
Amazon UK
Amazon US


LSI: Aladdins Audio Genie-us (November 2016)
[11.93Mb PDF]
From Lighting & Sound International

Aladdin – Behind the Scenes (Broadway)

Automated Scenery

Hudson Motion Control supplied the control systems

Illusions – The Flying Carpet

Illusion Designed by Jim Steinmeyer
Engineering and Implementation by Tait
Disney magic prevents anyone associated with the show from revealing anything about the astounding flying carpet effect. And this is largely because its’ secret is completely hidden – there’s no visible means of support. 
Before seeing the show, I assumed it was a hydraulic arm at first, as is the case with many magical flying effects (Charlie and the Chocolate Factory‘s ‘great glass elevator’ started out this way but was cut for something simpler for the rest of the run in London, and Chitty Chitty Bang Bang was a triumph of what can be done with careful programming and excellent lighting). 
However, in a wonderful moment of bravado, the carpet crosses the stage right in front of a giant moon on the backdrop, which would have revealed any such method. 
Unless it’s actually magic, suspension from above is the only option. Some online sources revealed it as drone technology, as this is one of the specialities of Tait, the company that has been revealed as the external vendor that created the carpet. However, drone technology has not yet reached the point where it’s silent, absolutely safe for two actors to be sitting on it, and 100% repeatable, regardless of actor movements or other air movements. Although in ‘A Whole New World‘ it’s impossible to see any detail on the carpet due to the excellent lighting, in the brighter finale sequence, those sitting in the upper seating areas can see what appear to be four fans, one in each corner of the carpet. These are not drone blades, but have thin non-reflective wires attached. The spinning action prevents the wires from being visible to the audience, and makes the illusion a huge success. A larger mechanism, out of view in the flies above the stage, has the same spinners working in synchronisation, along with a system of winches and tracks to enable the necessary range of motion. The entire area above the stage where the carpet flies has to be clear of lighting instruments and set pieces, making it a mammoth co-ordination task between all designers to ensure that the show can still be lit, and that the required set pieces can still fill the stage, without getting in the way of the carpet system. Illusion Designer Jim Steinmeyer, in his blog about his work on the show, only reveals that it uses a classic method from the early 20th Century. The use of an array of thin wires is a tried and tested method for creating flying or levitation illusions. The system has been patented by Tait and can be viewed at Google Patents.


Behind the Scenes – London – Wardrobe Department

Aladdin – Trailer

The Get-In

Stage Automation

There are 108 automated pieces in total, including traps, revolving traps, floor tracks, flown scenery, as well as the flying carpet (see below).  There are also impressive radio-controlled trucks that move around the stage wirelessly. ‘Quick Lifts’ that move at a rate of 12 feet per second propel the actors up onto stage dynamically.
More information: The Hidden Tech Behind Broadway’s Aladdin

Directional Sound Design

The Head of Sound is the number one operator, who mixes most of the shows. The sound designer Ken Travis and his team have developed a system that splits the stage into 14 zones, and through a complex computer interface can track the movement of cast members, and alter the speakers which feed their radio microphone sound to each part of the audience.
More information: The Hidden Tech Behind Broadway’s Aladdin

The Making of Aladdin

Aladdin Comes to London

Aladdin on Broadway

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