The New Aladdin
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The New Aladdin: A West End Edwardian Fantasy
"The New Aladdin" premiered at the Gaiety Theatre in London’s West End on September 29, 1906, under the stewardship of impresario George Edwardes. With a book and lyrics by George Grossmith Jr., James T. Tanner, and W. H. Risque, and music by Ivan Caryll and Lionel Monckton, this musical comedy ran for 203 performances, closing on April 27, 1907. A loose adaptation of the classic "Aladdin" tale, it traded the traditional Arabian Nights setting for a contemporary Edwardian twist, complete with Gaiety Girls and lavish production values. Though not as enduring as other Gaiety hits, it reflects the era’s penchant for whimsical spectacle.
A Modern Twist on a Classic Tale
The plot centers on Aladdin, reimagined as a London shop assistant who stumbles into a magical adventure after acquiring a mysterious lamp from a Bond Street bazaar. A fairy named Genius not the traditional genie emerges to grant his wishes, transporting him to a fantastical realm dubbed "Fairy Land." There, he encounters Princess Ruby, sparking a romance amid comedic chaos involving characters like the Vizier, the Bogey Man, and Mrs. Aladdin. This playful reworking swaps desert sands for urban streets and fairy magic for Eastern mysticism, delivering a lighthearted romp tailored to Edwardian tastes.
Music and Gaiety Grandeur
The score, crafted by Caryll and Monckton, features sprightly numbers like “The Diamond Valley” and “Come to the Dance,” blending catchy melodies with the Gaiety’s signature charm. Additional songs by Frank E. Tours and Adrian Ross enhanced the whimsical tone. The production dazzled with elaborate costumes some adorned with real gems and intricate sets depicting Fairy Land’s glittering landscapes. The Gaiety Girls, a hallmark of Edwardes’ shows, brought glamour and synchronized dance to the stage, making "The New Aladdin" a visual feast, even if its music didn’t leave a lasting mark.
A Cast of Edwardian Stars
The original cast boasted West End luminaries, including George Grossmith Jr. as the Vizier, whose wit shaped the script, and Harry Grattan as Aladdin, delivering a cheeky everyman appeal. Lily Elsie, soon to star in "The Merry Widow," played Princess Ruby early in her career, while Adrienne Augarde shone as Genius. Supported by a robust ensemble, the performers embodied the Gaiety’s blend of talent and allure. Despite their efforts, the show faced mixed reviews and stiff competition, limiting its run to seven months.
A Fleeting Edwardian Delight
"The New Aladdin" arrived during a golden age of Gaiety musicals, yet it struggled to match the longevity of predecessors like "The Shop Girl" or successors like "Our Miss Gibbs." Its 203-performance run was respectable but overshadowed by the era’s operetta boom, notably "The Merry Widow" in 1907. No major revivals followed, and its legacy survives mostly through historical accounts and sheet music. Still, it encapsulates the West End’s early 20th-century flair for lavish, light entertainment, offering a window into a bygone theatrical world.