| What: Aladdin – by Fred Abrahamse and Marcel Meyer Where: Canal Walk Shopping Mall in the Centre Court When: June 28 to July 20, 2025 Performance times: Three shows daily at 11am, 12:30pm and 2pm. Closed Mondays. Tickets: From R110. Family packages available Running Time: 55 minutes Recommended age: All ages (under 2s free if seated on laps) Bookings: Webtickets. Or buy at the box office on site – depending on availability Scroll down for credits – cast and creatives |
A gorgeous Aladdin is on stage in the Canal Walk Theatre at Canal Walk from June 28 to July 20, 2025. There are three shows daily, except Mondays in the pop-up theatre tent which is assembled each year in the Centre Court. This is the 23rd production that Fred Abrahamse and Marcel Meyer of Abrahamse & Meyer Productions have staged for Canal Walk Theatre and 2025 happens to be the 25th birthday of Canal Walk. The centre opened in 2000. It would have been the 25th edition of Canal Walk Theatre but Covid scuppered two seasons. See my review of Aladdin, here https://thecaperobyn.co.za/review-gorgeous-aladdin-on-in-cape-town-canal-walk-theatre-2025/. Drilling deep into the production – concept and design – we share insights by Marcel Meyer:
TheCapeRobyn: Has Aladdin been staged before by you and Fred Abrahamse at Canal Walk Theatre?
Marcel Meyer: We first explored Aladdin in 2008 at Canal Walk, in a substantially different version. That production played in repertory with Nursery Rhyme Time, forming part of a vibrant theatrical offering for young audiences.
Now, as Canal Walk celebrates its 25th anniversary since opening in 2000, we wanted to mark this milestone with something truly special. Aladdin felt like the perfect fit — a story rich in magic, wonder, and transformation — to help us celebrate a quarter-century of joy, imagination, and family entertainment.
TCR: Can you talk about your adaption – the book by you and Fred – and the music and lyrics that you have written and how you have re-imagined the Arabian Nights tale? It is still set on the streets of Baghdad. What is this Aladdin saying to the audience in 2025 – young audience and older folk?
MM: In our musical adaptation, Aladdin becomes much more than a tale of wishes and wonder — it’s the story of two individuals who feel out of step with the roles society has prescribed for them. At its heart, this is a journey of self-discovery, where the true source of magic is revealed not in an enchanted lamp, but in the courage to be authentically oneself.
This central theme is explored not only through Aladdin, but also through Princess Jasmir. Both characters grapple with expectations that confine them — he as a street-smart dreamer dismissed by the world around him, she as a royal constrained by duty and tradition. Their shared yearning to break free from these imposed identities is what ultimately unites them as soulmates. In each other, they find the freedom to imagine — and claim — a future shaped not by fate, but by choice.
In our version of Aladdin, the peachbecomes a powerful symbol of connection, longing, and unexpected sweetness. Traditionally associated with immortality, beauty, and the fleeting nature of desire, the peach represents the tenderness both Aladdin and Princess Jasmir keep hidden beneath their outward roles. It is a simple, human gesture — the offering of a peach — that first brings them together, cutting through status and expectation to reveal a shared sense of yearning. In a world of illusion and grandeur, the peach becomes a symbol of something real: the beginning of love, honesty, and the courage to be seen.
TCR. Each year, original musical theatre is created for Canal Walk Theatre. Comments?
MM: We are incredibly proud that each year we have the opportunity to create an original family musical that is 100% proudly South African — a true celebration of the remarkable talent we have right here in the Mother City. From the phenomenal (and often award-winning) performers on stage to the exceptional creative and technical teams behind the scenes, every aspect of this production is a home grown triumph.
This year’s Aladdin is a spectacular showcase of the many gifted individuals who have poured their hearts and skills into bringing this magical story to life. Jaco Griessel has outdone himself with his exquisite musical arrangements and orchestrations. Rabia Davids, Fagrie Nasrie and the entire wardrobe department have created each dazzling costume and headdress entirely from scratch. And Neil Fowler, together with the brilliant team at Just Sets, has conjured up an enchanting world — including a magic carpet that truly lifts off the stage.
It is a joy and an honour to present a production that not only delights audiences but also proudly celebrates South African creativity at its finest.
TCR: Can you talk about the design concept in Aladdin?
MM: Staging a full-scale musical in the Promotions Court of a shopping centre comes with unique challenges — no fly tower, extremely limited backstage space, and the need to deliver a theatrical experience that meets the high expectations associated with Aladdin. To rise to this challenge, we embraced a bold and imaginative design solution: a multi-level, unit set that is both visually striking and versatile enough to transform seamlessly into the many locations required by the story — from the bustling streets of Baghdad and the opulent Royal Palace to the glittering Cave of Wonders and the starlit sky of the flying carpet scene. Inspired by the delicate lattice work of Islamic art and architecture from its golden age, the set has been conceived as a series of glowing ‘lightboxes’, their intricate patterns illuminated in shifting jewel tones. To further assist with the fluidity of these shifting locales, we’ve incorporated Canal Walk’s large LED screen, which serves as a dynamic canvas for stunning digital backdrops that transport the audience from scene to scene with cinematic richness. The result is a space that feels both magical and immersive — a true feat of theatrical illusion in a most unconventional venue.
TCR: Please tell us about the costumes?
MM: The colour purple, long associated with royalty, rarity, and transformation, plays a central symbolic role in our production of Aladdin. Though traditionally reserved for the elite, purple appears early on in Aladdin’s costume — even in his humble state — as a visual hint of the inner nobility he carries. When he sings, “There’s a prince inside of me,” the audience begins to see what the world has yet to recognise. His mother, the Widow Mustapha, too, wears purple, linking them both to a regal destiny beyond their station. The Sultan and Princess Jasmir also wear purple, creating a visual thread between the seemingly separate worlds of palace and street. During a magical mid-musical transformation, Aladdin and his mother are revealed in full royal splendour — not because the colour has changed, but because the world finally sees them for who they truly are.
Tonally, the rest of the costume palette is built around shades of blue and red — the two colours that must blend to create purple — reinforcing the journey of identity and unity at the heart of the story. The Genie of the Lamp dazzles in blue and gold, symbolising power, possibility, and celestial magic. In contrast, the evil wizard commands the stage in red, black, and gold, evoking danger, ambition, and control. Meanwhile, the ‘Jewels’ of the Cave of Wonders shimmer in Follies-esque costumes of gold and silver, embodying opulence, temptation, and the seductive glitter of material wealth. Through this carefully crafted colour language, the world of Aladdin comes vividly to life, each hue adding depth to the characters’ emotional and symbolic journeys.
TCR: And the props – the flying carpet?
MM: Across the centuries, stage productions of Aladdin have delighted audiences with their celebration of theatrical magic and illusion. From trapdoors to sleight-of-hand, the tale has always invited spectacle. In our production, we honour that tradition with a truly enchanting moment: a flying carpet that lifts Aladdin and Princess Jasmir into the air for their romantic duet. It’s a breath taking fusion of stagecraft and storytelling — a reminder that, in the theatre, even the impossible can take flight.
TCR: Are there puppets?
MM: Puppetry has long been a beloved feature of our annual winter musicals at Canal Walk, bringing whimsy, wonder, and larger-than-life characters to the stage. This year is no exception, with two spectacular puppets taking centre stage: a charming camel that carries two riders through the bustling marketplace, and a show-stopping 10-metre-long cobra that Aladdin and Princess Jasmir must battle in the thrilling climax of the musical. These puppets not only add visual magic but also honour the tradition of imaginative storytelling that defines our productions.
TCR: Can we talk about the A & M musical theatre productions at Canal Walk Theatre and how you have elevated theatre in a shopping mall to another level – going beyond entertainment in a mall?
MM: Since its inception, the annual Canal Walk family musicals have featured a galaxy of Cape Town’s finest singing-actors. Beloved performers such as Anthea Thompson, Jason Ralph, Steven Jubber, Dean Balie, Carmen Maarman, Bianca Flanders, Isabella Jane, Carel Pretorius, Jenny Stead, Edith Plaatjies, and Faniswa Yisa — to name just a few — have all brought their exceptional talent to the stage, igniting the imaginations of young audiences and their families. This project has always been two-fold: it offers celebrated, award-winning performers the joyful opportunity to reconnect with their inner child, while also serving as a vital platform for emerging artists. Many of today’s brightest theatre stars had their first moment to shine at Canal Walk, before going on to acclaim in their own right. We are deeply grateful to Hyprop and Canal Walk for their unwavering commitment to this vision and for continuing to support the growth of the performing arts in South Africa.
With the exception of the two Covid years, we have proudly presented entertainment for young audiences and their families at Canal Walk year after year. This is more than just a seasonal offering — it is a heartfelt commitment and an investment in the future of theatre. Many of us can still recall the magic of seeing our first musical, play, pantomime, or ballet — that unforgettable moment when the performing arts first captured our imaginations. It is that spark we hope to ignite in every child who takes a seat before our stage. That is why we remain devoted to this project, and why we continue to bring the very best of Cape Town’s talent — on stage and behind the scenes — to create something truly special for the next generation of theatre lovers.
| ALADDIN A Musical Fantasy Based on a Tale from The Arabian Nights Book: Fred Abrahamse & Marcel Meyer Music & Lyrics: Marcel Meyer Cast: Aladdin Anzio September Princess Jasmir Mekaila Mathys The Genie of the Lamp Onela Metuso Abanazer/The Sultan Graham Bourne Widow Mustapha Edith Plaatjies Ensemble: Caleb Felix, Nkosinathi Mazwai, Kaira Naidoo, Kaylah Solomons Creative Team: Set Design Fred Abrahamse Costume Design Marcel Meyer Lighting Design JP Willson Musical Arrangements & Orchestrations Jaco Griessel Assistant Musical Director Thinus Viljoen Choreographer Nkosinathi Mazwai Direction Fred Abrahamse & Marcel Meyer Production Team: Production Stage Manager & Dance Captain Erynn Troup Assistant Stage Manager Nickus Venter Sound Phillip Du Toit Mic Tech Adrian Poate Puppet Construction Phyllis Midlane, Fred Abrahamse & Marcel Meyer Set Construction Just Sets Costume Construction Nasrow Creations Costume Supervision Rabia Davids |
✳ Princess Jasmir (Mekaila Mathys) and Aladdin (Anzio September) on the magic carpet ride in n Aladdin by Fred Abrahamse and Marcel Meyer at Canal Walk Theatre, June 28 to July 20, 2025. Pic : Fiona MacPherson. Supplied.
