Photo FeaturesFrom Magic Lamps to Crystal Balls: Get Up Close With the Props of Broadway’s Aladdin We take a closer look at all of the intricate details that bring to life the magical objects at the New Amsterdam Theatre.
Disney’s Aladdin takes us behind the scenes at the New Amsterdam Theatre and into "props alley" where most of the show's props are kept backstage. From the five different lamps used in the show to the 70 feathers in each "Prince Ali" fan, production props supervisor Tim Abel takes us through how every detail is specifically curated for aesthetic and practical purposes.
The stage production, which expands the 90-minute film into a two-act format, features music by Alan Menken, lyrics by Howard Ashman and Tim Rice, and a book and additional lyrics by Chad Beguelin. Casey Nicholaw directs and choreographs.
Flip through the gallery below to see the props up close, how they are stored backstage, and how they were chosen and created for the show:
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From Magic Lamps to Crystal Balls: Get Up Close With the Props of Broadway’s Aladdin
From Magic Lamps to Crystal Balls: Get Up Close With the Props of Broadway’s Aladdin
We take a closer look at all of the intricate details that decorate the set at the New Amsterdam Theatre.
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Welcome to Prop Alley at the New Amsterdam Theatre! This is where we stage the majority of the props in Aladdin. They’re held here and ready to go on stage.
The bracelet pole is used in the marketplace and is based on research that the designers did in Morocco. They took a lot of photos in the markets there to inform the design of the show.
There are 70 feathers in each Prince Ali fan. These are dyed silver pheasant feathers that are sourced locally on 37th Street. We steam and brush them to make them look new again when they start to get worn.
The Jasmine bedroom peacock unit was different in Toronto – it had cushions and a bench inside for her to sit on.
This is the sword rack – there are 34 swords and 8 spears used in the show, and all of them are handmade out of a special aluminum alloy that gives them weight and a great tone heard when they clash during on stage fighting.
Make a wish! The Aladdin Genie lamps are 3-D printed and take 4 weeks to make from start to finish. It takes 48 continuous hours to print the plastic lamp before it is sanded and treated, and there are special pyrotechnics that allow it to smoke.
We use five lamps in the show: four gold (three with pyro, one without) and one black for the scene after Jafar has been trapped in it. These are both set with the pyro – don’t hit the button!
Jafar's lamp
Marc J. Franklin
The stage right preset at the top of show features many of the props used in the marketplace and one of the Cave of Wonders towers.
These are different inserts for use in one of the market carts. The lefthand insert is used at the top of the show selling dates, fruit and other goodies, and the basket on the right holds Jafar and Iago’s disguises when they meet Aladdin in the marketplace. All of the baskets are made in Africa and are fair trade.
One of two Jafar staffs, this one is made of carbon fiber. At the end of the show there is another that is steel reinforced and is a safety mechanism to help Jafar balance when he rises and then disappears into the lamp.
At the top of the show, the Genie has this lamp (without pyro) and the Statue of Liberty in his pockets. This lamp is a little smaller so it fits into his costume.
The crystal ball is used in the marketplace to tell Jasmine and Aladdin’s good fortune.
This is a detail shot of one of the Cave of wonders towers. Our inspiration was a pirate treasure cave, loaded up with fabulous gold and silver and jewels.
Marc J. Franklin
One of the original posters from the 2011 pilot production at The 5th Avenue Theatre in Seattle that managed to make its way backstage and hangs on the stage right wall.
A set piece from the Mary Poppins rooftop scene is bolted to the original 115 year old back wall as a keepsake from that show, which played the New Amsterdam for over 6 years.
