Disney's 'Aladdin' to land in Korea in November after decade-long wait

This combined image shows the Korean cast of "Aladdin." Top row from left are Kim Jun-su, Seo Kyung-su and Park Kang-hyun, playing Aladdin; second row from left are Jung Sung-hwa, Jung Won-young and Kang Hong-seok portraying Genie; and bottom row from left are Lee Sung-kyung, Min Kyoung-ah and Choi Ji-hye as Jasmine. Courtesy of S&CO

After a decade-long wait, the magic carpet will finally touch down in Korea, bringing the enchanting world of Disney's Broadway hit "Aladdin." The beloved musical, inspired by the iconic 1992 animated film, is set to dazzle Korean audiences with its premiere here in November, combining the original Broadway spectacle with the brilliance of Korea's top talents.

During a session with Korean media Tuesday, key figures from the creative "Aladdin," composer Alan Menken, director and choreographer Casey Nicholaw and Disney Theatrical Group Executive Vice President Anne Quart, across the Pacific from New York, shared the meticulous process of adapting the animation into a stage production.

The casting of the Korean premiere of "Aladdin" reflects an enthusiastic search for standouts, according to Nicholaw. Visiting Korea to personally oversee the casting, the director-choreographer found himself impressed by the breadth and quality of the talent pool here.

The role of Aladdin is played by Kim Jun-su, Seo Kyung-su and Park Kang-hyun, while the enigmatic Genie is portrayed by Jung Sung-hwa, Jung Won-young and Kang Hong-seok, each bringing a unique flair to the beloved character. Making her stage debut as Princess Jasmine, model-turned-actor Lee Sung-kyung shares the role with theater actors Min Kyoung-ah and Choi Ji-hye.

During the casting process, Nicholaw looked for more than just technical skill and sought performers who exhibited a blend of "good, positive energy" and a quirky, distinctive personality that could bring something fresh to the production.

"It was really fun to see all of the talent there, from the ensemble to the principals, because we got to cast several people in a few of the roles, so it was great to see how individual each of those people was," Nicholaw said.

From left, director and choreographer of musical "Aladdin" Casey Nicholaw, Disney Theatrical Group Executive Vice President Anne Quart and composer Alan Menken pose during a presentation for Korean media in New York, Monday (local time). Courtesy of Disney and Evelyn Freja

From animation to stage

Quart highlighted the original film's monumental success, noting it as the highest-grossing movie of 1992 and a global phenomenon. This widespread affection set a high bar for the stage adaptation.

"Although we created a different show, we see the effect of that affection every night in the theater," Quart said, noting the show attracts a diverse audience — not just families but also friends and couples, drawn by fond memories of the film.

Nicholaw added that in adapting the characters for the stage, they made a conscious decision to age up Aladdin and Jasmine, shifting the narrative toward a more mature adult love story and enhancing its appeal across a broader audience.

The transition from film to stage presents both challenges and triumphs.

"We have a creative team that's world-class and we have an original film that was a huge hit. But then comes the challenge of translating that score, that story to the stage," Quart said.

This included adding new songs and expanding the story to fit the dynamic format of live theater, ensuring that the stage version both honored its origins and offered something new.

Eight new songs have been added — four originally cut from the animated film and four composed specifically for the theatrical version — and the familiar, beloved melodies from the film have been finely tuned to enhance the allure of live entertainment.

The magic carpet ride scene is at the height of stage illusion and Nicholaw said, "It's just absolutely gorgeous, and people leave with their mouths hanging open." Yet, the true enchantment of "Aladdin" lies in its music, masterfully rearranged by Menken himself during one of the early run-through of the show's tryout in Seattle back in 2011.

"(Alan said,) 'I have to redo 'A Whole New World.'' and he then completely changed the song (and) made it so much twinklier and so much more romantic to fit a stage show as opposed to the movie. And it really it blew me away that he would spend the time to change the number that is the most iconic and make it fit our show so perfectly," Nicholaw said.

Menken added his philosophy, ensuring that each adaptation remains fresh and unique to its medium.

"I don't want to use an arrangement that someone has heard in another medium because I feel like it will take them out of the freshness of this new adaptation," he said.

Another notable evolution for the stage adaptation involved Jasmine's character, who initially sang a song mocking the superficial perceptions of her as a princess obsessed only with "nails and hair." Realizing the need for a change, Menken composed a new song, "These Palace Walls," that would better capture Jasmine's longing for freedom beyond her royal duties and the confines of the palace.

"I just let my hands fly, and within 45 minutes, I'd say we had the basis of this song, and by the morning, we had a lyric and within a day, we had an arrangement and then an orchestration," Menken recalled crafting the song at a hotel room during rehearsals.

Beyond Jasmine's new anthem, the musical also introduces "A Million Miles Away," a new duet for Aladdin and Jasmine, and "Diamond in the Rough," a character-defining piece for the antagonist Jafar.

Director and choreographer of "Aladdin" Casey Nicholaw, left, and composer Alan Menken speak during a presentation for Korean media in New York, Monday (local time). Courtesy of Disney and Evelyn Freja

Genie outside lamp

Genie emerges as the undeniable standout in the musical "Aladdin," captivating the audience without relying on the shapeshifting magic seen in other mediums as Nicholaw and his team chose to emphasize Genie's human traits, making him both relatable and entertaining by portraying him as a stand-up comedian.

"Instead of using technology to do something that feels artificial, we have him singing and dancing, doing funny bits that the audience laughs at and (audiences) are in hysterics the whole time when he's doing his sort of stand-up act before 'Friend Like Me,'" Nicholaw explained.

The director further highlighted the relationship between Aladdin and Genie as the emotional core of the show. "Aladdin gives Genie his freedom, and Genie gives Aladdin his empowerment, helping him grow from a boy into a man through their friendship. That's a very human thing," he said.

Composer Menken contributed to defining Genie's unique character through music, integrating Harlem jazz into his repertoire.

"You have this Arab fairy tale and Harlem jazz together, and you just have the worlds joining in a really rich way," Menken said.

When "Aladdin" raises its curtains around the world, Genie whimsically incorporates a local souvenir into each show — a miniature Statue of Liberty on Broadway, a Union Jack umbrella in the U.K. and a jar of Vegemite in Australia. So, what unique memento will appear in Korea?

"It will be a secret until you see it," teases Nicholaw, promising a delightful Korean keepsake though the final choice hasn't been made yet.

"We're actually going to be guided by the Korean people, who are going to be helping us. We'll ask them, 'Is this funny, or is this not funny?' And then they'll say, 'This is not funny,' and we'll change it."

"Aladdin" will run from Nov. 22 through June 22, 2025, at the Charlotte Theater in southern Seoul and will travel to Busan's Dream Theatre in July 2025.