Courtney Reed and Adam Jacobs in Aladdin
(©Deen van Meer)

When James Monroe Iglehart sings “Friend Like Me” in Disney’s new Broadway musical adaptation of its classic animated hit Aladdin, truer words were never sung. Playing the role of the Genie, voiced so memorably by Robin Williams in the film, the performer is indeed this show’s best friend and most potent weapon. Coming at nearly the halfway point, his show-stopping number lifts the previously moribund evening to dizzying heights.

The latest in Disney’s many attempts to translate its cinematic magic to the stage, Aladdin falls well short of the heights of Beauty and the Beast and The Lion King or even Mary Poppins while being superior to such misbegotten efforts as Tarzan and The Little Mermaid.

Featuring songs from the movie composed by Alan Menken with lyrics by Tim Rice and the late Howard Ashman as well as new numbers featuring lyrics by Chad Beguelin, who also wrote the book, the show is largely faithful to the source material. It tells the tale of the rakish Aladdin’s (Adam Jacobs) courtship of the Sultan’s (Clifton Davis) beautiful daughter Jasmine (Courtney Reed). Aiding him in his romantic pursuit is the Genie, who has granted him three wishes, even as the Sultan’s evil advisor Jafar (Jonathan Freeman, who voiced the role in the movie) threatens to prevent the young lovers from getting together.

Coming across as a sort of Middle East version of A Funny Thing Happened on the Way to the Forum—there’s even an introductory number, “Arabian Nights,” that strongly recalls “Comedy Tonight”—the musical traffics in the sort of slapstick, shtick-laden humor that more often produces groans than laughs. Most of the tired jokes involve Aladdin’s three buddies (Brian Gonzales, Jonathan Schwartz, Brandon O’Neill) whose antics recall the Three Stooges at their least inspired.

It’s when the Genie finally gets released from his bottle that the show truly comes to life. The burly Iglehart wisely makes no attempt to duplicate Robin Williams’ iconic performance, instead delivering a distinctive, boisterously funny, physical turn that is consistently hilarious. Despite his ample girth, the performer fairly bounds across the stage, even doing a somersault at one point, and his spearheading of the “Friend Like Me” number, terrifically choreographed by director Casey Nicholaw, garnered a mid-show standing ovation at the reviewed performance.

The rest of the score, especially the new numbers, is largely unmemorable, with the other highlight predictably being the gorgeous ballad “A Whole New World,” beautifully staged with Aladdin and Jasmine atop a flying magic carpet courtesy of master illusion designer Jim Steinmeyer, whose previous credits include Beauty and the Beast, Phantom of the Opera and Mary Poppins.

While the attractive Jacobs and Reed are appealing if generic in the lead roles, the rest of the large ensemble mostly struggle to get the sort of laughs that Iglehart seems to achieve so easily.

The scenic designs by Bob Crowley, while displaying a fast-moving versatility, look rather cheap, especially in comparison to the endless array of dazzlingly colorful costumes designed by Gregg Barnes.

Despite its largely pedestrian execution, Aladdin has a decent chance of achieving hit status, if only for the familiarity of its title. But even with its miraculous flying carpet, the show remains stubbornly earthbound.

New Amsterdam Theatre 214 W. 42nd St. 866-870-2717. www.AladdinTheMusical.com.