By comparison, the producers of “Aladdin” have it easy. Like the 1992 film it is based on, “Aladdin” is a Disney production, and Disney has been turning its animated pictures into Broadway musicals since “Beauty and the Beast” in 1994.

The formula — which reached its pinnacle with the international megahit “The Lion King” — isn’t foolproof. (Hello, “The Little Mermaid”! And hello, “Tarzan”!)But tourists who have been programmed to seek out all things Disney guarantee a strong initial audience for this whimsical variation on an “Arabian Nights” fantasy. Whether flying carpets and a shape-shifting genie will be morphed into credible stagecraft remains to be seen.

But at least one of the show’s songs, “A Whole New World” by Alan Menken and Tim Rice, is already tattooed on the memories of those who were moviegoing children two decades ago, not to mention the millions who have since been hypnotized by it via babysitting DVD players. Having simply written the title, I now can’t get the tune out of my head.

(This, in turn, leads me into a dark reverie: What if Disney decided to turn its “It’s a Small World” theme park ride into a Broadway show, with that one, insufferable song playing endlessly? No, perish the thought. I’m sorry I brought it up.)

By the way, the season’s two big musical revivals are of shows that became much celebrated movies. “Cabaret,” the 1966 Kander and Ebb musical about nightclubbing in Weimar Germany, was the basis for the sensational 1972 film, directed by Bob Fosse. When the stage version was revived in 1998, the show (which incorporated numbers that had been added for the film) became such a hit for the Roundabout Theater Company that it stuck around for 2,377 performances.

Now the Roundabout is bringing it back, with the same director and co-director (Sam Mendes and Rob Marshall) and one of the same stars: Alan Cumming, who won a Tony as the M.C. (Michelle Williams will make her Broadway debut as the divinely decadent Sally Bowles.)

Then there’s “Les Misérables,” the enduring blockbuster adapted by Claude-Michel Schönberg and Alain Boublil from Victor Hugo’s doorstop novel about life on the barricades (and in the sewers) in 19th-century Paris. First staged on Broadway in 1987, “Les Misérables” lasted until 2003. It was then brought back, with unseemly haste, in a 2006 revival.

Now here it comes again. In the meantime, of course, there was the 2012 movie adaptation, which racked up a lot of Oscar nominations and had everybody humming “I Dreamed a Dream” ad infinitum. In other words, the brand-name recognition of “Les Misérables” is greater than ever. Its reincarnation may be the ultimate example of the belief that on Broadway, familiarity breeds not contempt but big box office.