![]() ![]() ![]() “For being on the road, even though it looks, I think, spectacular, we learned little tricks so the day workers don’t have to come in to maintain everything,” he explains. If they see a good idea, they’ll back it.”īarnes says the team has tweaked the process to enable the show to travel more easily. More than ever, road companies are just as lavish as Broadway in costume design, scenery and lights, says Crowley, who adds, “Disney is generous with the budget but not profligate. “To move lights, someone used to go up a ladder now it’s all done by computer.” “We’re not taking a step back in any way,” says lighting designer Natasha Katz. Legit has borrowed from the world of rock ’n’ roll so that the same lighting the show used on Broadway can travel, because it’s on pre-hung trusses and doesn’t take as long for technicians to put up. No one I know wants to give less than 150%.” ![]() “I work with people to give the audience on tour the Broadway experience,” Crowley says. “Aladdin” has toured Japan, Australia and the U.K. “We didn’t have him turn it into the red in the beginning. “One of the things we added when Jafar becomes sultan and then genie, his costume went from black to white,” says Barnes. “It was a very direct metaphor for how I would approach the palace scene.”Īmong the highlights that Barnes and his team created were the finale with the vizier who goes through quick costume changes. “I wanted the finale to be like theIt’s a Small World ride at Disney,” says Gregg Barnes, the tuner’s costume designer. Long before “Aladdin” came to Los Angeles, during the show’s planning stages, Crowley sat with Disney Theatricals execs, director Casey Nicholaw and the below-the-line crew to discuss which pieces to highlight. ![]()
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