Review Preview: Aladdin

It's always fun to visit the Palace Theatre, where a special group of professionals have turned back the clock on this historic vaudeville house, nestled on the shores of Lake Musconetcong.

Home now to the Growing Stage, the Children's Theatre of New Jersey, the Palace is living up to its name, as it sets the stage for tales of Arabian Nights, home to the sultan of a mighty palace. Sheherizade , Hamlet, Lady Macbeth and Katherine Hepburn all show up to support the title character, "Aladdin," in Perry Arthur Kroeger's adaptation.

Kroeger, who also directs, can fracture a fairy tale with the best of them. While this crack at "Aladdin" isn't quite as twisted as last year's sleeper hit, "Sleeping Beauty," it's still a lot of fun for any age group you can claim membership to.

Kroeger frames the familiar tale with a group of Commedia dell' arte clowns (Lea Antolini, David Spellman, Danny Campos, Steve Nitka), complete with bad Italian accents, who help Sheherizade (Liz Sheber) tell the last of her 1,001 tales to the silly sultan (Jeremy Hilgert).

All the aforementioned actors, except Nitka, are Equity pros. Additional roles and black-costumed prop handlers are filled by the vast well of young talent the Growing Stage has nurtured over the years.

Kroeger livens up an old story with silly jokes and slapstick that owe much to the Marx Brothers. Aladdin passes himself off as the Prince of Ad Nauseum to woo a pretty princess, while two slaves are names Aphrodyte and Mamasnyte (say the last one slowly). And the evil magician's eyes are blacked out like a silent-movie villain.

The appeal of this "Aladdin" also rises with two wild cards. Black-light effects turn some simple props into genuine eye candy, and also put some pizazz into the introduction of the second wild card--Antolini's manic genie.

Sure, it's been done, but Antolini is a gifted physical comic who doesn't have to imitate Robin Williams to get a laugh. She's been doing this sort of thing here for years, and Kroeger lets her stretch out like Keith Moon during a drum solo. She's a tiny dynamo, with a pretzel for a body, a lovely singing voice and a face that's one part Stan Laurel, one part Margaret Hamilton.

The Growing Stage has had a good year, with strong attendance for five quality shows, including a rare dramatic production of "A Midnight Cry," which was seen by many school classes during Black History Month.

As often happen this time of year, the turnout was comparatively light. Hopefully, Growing Stage regulars, especially those who have enjoyed Antolini's work there, will remember to save a night for this show. The sun will still be there tomorrow.