The show’s called “Aladdin” — “Disney’s Aladdin,” to be precise — but everyone knows it’s all about the Genie.

And fortunately the current touring production of the musical, which performed at Detroit’s Fisher Theatre through Sunday, May 14 — has a good one.

Robin Williams, of course, established the Genie as an iconic character with his manically nuanced voice performance in the 1992 animated film. He set a high bar but at the same time established a template for the actors who would follow in the Tony Award-winning stage adaptation, which premiered 12 years ago in Seattle and stopped during January of 2018 at the Detroit Opera House. Energy and personality are the keys to a successful Genie, and Marcus M. Martin has both in abundance.

Playing Genie as a kind of Oprah/Steve Harvey/Billy Porter hybrid, Martin hits the stage as the curtain lifts like a full blank of Klieg lights — and that’s just his smile. His performances leading ensemble pieces such as “Friend Like Me” and “Prince Ali” are genuinely magical, and his chemistry is tight both with the other cast members and in breaking the fourth wall between stage and audience. It feels like he’s having as good a time as we are in the seats and is happy to bring everyone into the part.

With that taken care of, this edition of “Aladdin” could lock into cruise control — but doesn’t by a long shot. The show again navigates the tricky order of transferring a classic film to the stage, taking agreeable liberties with the story and adding wrinkles that turn it into a fresh look at a familiar tale as old as…whoops, wrong Disney musical. At any rate, it’s entertaining and kitschy, albeit sometimes too fast with its barrage of quips, asides and dad jokes. “Aladdin” works because it’s well aware of its cinematic predecessor’s joyous journey through Arabian nights, and days, and chooses to celebrate their kinship while forging its way into a bit of a whole new world.

And this production works well even within the more physically limited confines of the Fisher (which led to a half-hour delay in starting the opening night performance). It is noticeably smaller than the version of the show at the Opera House but still feels impactful, from the Genie’s magic-trick appearances to costume quick-changes, sometimes right on stage in real time. The key components remain in place, up to and including the magic carpet ride Aladdin (Adi Roy) and Princess Jasmine (Senzel Ahmady) take during the well-delivered “A Whole New World.”

This cast, while also smaller, is limber and versatile enough to compensate for any shrinkage in “Aladdin’s” footprint. Particularly strong in this production is Aladdin’s posse, a trio — Ben Chavez, Jake Letts and especially Colt Prattes as Kassim — that replaces the monkey Abu as Aladdin’s chief foils. They get some of the show’s best puns, and their set piece “High Adventure,” one of several new songs original composer Alan Menken wrote for the musical, is a welcome addition with its swashbuckling action and slyly witty lyrics.

Opening night also gave Novi-raised Cameron Sirian an opportunity to step into his understudy role for villain Jafar’s sidekick Iago, and he made the most of it with smooth comic timing, cheered on by friends and family members for almost every line.

All of that insures “Aladdin” is as pleasing in person as it is on screen and, like the movie, holds up to repeat viewings. And it’s like the Genie won’t be ready to return to the bottle any time soon.

Disney’s “Aladdin” ran through May 14 at the Fisher Theatre in Detroit. The show will tour through the U.S. and Canada for the next year. Click here to see the tour schedule.