Jonathan Freeman, Aladdin's Original Jafar, on the Joy of Getting Audiences to Hate You

In the corporate world, employees leaving a job are often asked to sit through an exit interview with HR about their time at the company. That concept doesn’t exist for Broadway performers, but we love checking in with stars as they finish up a successful run. Jonathan Freeman originated the role of Jafar in the Broadway production of Aladdin, bringing to the stage the character he indelibly created in the 1992 animated film. He will play his final performance in the hit musical on January 23. Freeman received a Tony nomination for his performance in She Loves Me. His other Broadway credits include How to Succeed in Business Without Really Trying, On The Town, The Producers, 42nd Street, Sherlock Holmes, Platinum and three other Disney hits, Beauty and the Beast, Mary Poppins and The Little Mermaid. Here, Freeman discusses his sense of guardianship of the role and relishing the part of the villain.

How did you feel when you first got this job?
Elated! I was hoping that Disney would produce Aladdin for Broadway, but every project has its own timeline. Broadway musicals are highly collaborative and making sure everyone you want to participate is available at the same time is no easy trick.

How do you feel now that you’re leaving?
Emotionally overwhelmed but extremely grateful that I had the opportunity to bring Jafar to Broadway successfully. I’ve satisfied my sense of guardianship.

What are three words you would use to describe your experience?
Joyful. Educational. Exhausting.

What was the easiest thing about this job?
I never worried for a minute that we were not in good hands.

What was the hardest thing?
This part. Ending it. Handing it over. I think I had similar feelings the first time it was produced in other countries, knowing there would be other Jafars. I felt anxious that it wasn’t me. Jafar and I have been together since January 1991.

What was the highlight of your time at this job?
Reimagining the role! Having the opportunity to work with Alan Menken again! Being directed by Casey Nicholaw, dressed by Gregg Barnes, performing on a Bob Crowley set! Being in the room again with Tom Schumacher and Natasha Katz and Michael Kosarin! What luxury—and the list goes on. All great collaborators!

What skills do you think are required for future job applicants?
Finding the way to make audiences love to hate you. Never forget: Without a good villain you don’t have a good story. Good villains are like throwing gasoline on fire. Enjoy the blaze!

What advice would you give to future employees in your job position?
Don’t go bigger, go deeper.

How do you think you’ve grown?
This is the longest run I’ve ever done. I really feel that I figured out how to keep it interesting enough for myself and uphold my standards for the audience.

Why are you leaving?
Because I think it’s time. When the pandemic forced Broadway to shut down, we had just begun what I thought might be my last year in the show, but I didn’t want it to end like that. This seemed like a cleaner finish to me.

What will you miss the most?
My friends at the theater, of course. We have the loveliest company of people. Between Mary Poppins and Aladdin, I’ve been in New Amsterdam for about 10 years. The crews are sensational and a pleasure to be with. I’m really going to miss seeing them every day.