Posts with the label Stephen Schwartz
Showing posts with label Stephen Schwartz. Show all posts
Showing posts with label Stephen Schwartz. Show all posts
Thursday, 27 February 2020
The Prince of Egypt, Dominion Theatre | Review
The Prince of Egypt
Dominion Theatre
Reviewed on Wednesday 27th February 2020 by Olivia Mitchell
★★★
In 1998, The Prince of Egypt became an animated sensation, bagging an Oscar and much critical acclaim. Since then it's been on a long journey to the London stage. Originally beginning in California in 2017, many changes have been made across the world to bring this current, reimagined production to life.
The plot is made up of the Exodus story, following the child of a Hebrew slave, Moses, who is found in the river and adopted by Pharaoh's family. All grown up, Moses discovers his real heritage and flees the palace to discover his true purpose in life. It's in the vast desert that a case of divine visitation via a burning bush, shows Moses his true mission to free the enslaved Hebrews and take them to the promised land.
Musically Stephen Schwartz's score is beautiful, with sweeping melodies and evocative patterns, but frequently, the lyrics don't match up in terms of power; often just pointing out the action, rather than developing it. However, it's the choral moments which really soar, with Deliver Us providing so much power. Almost operatic at times the ensemble do an outstanding job of coming together to perform tight harmonies that fill the cavernous Dominion Theatre.
It's the 'telling' aspect of this musical which makes it fall somewhat flat. Philip LaZebnik's dialogue is cumbersome, with very little character or narrative development. There are many moments, which although wonderfully performed, do not develop the plot or characters and feel unnecessary, and whilst some moments are over explained by the dialogue or music, others feel undeveloped. Namely the plagues which are projected in rapid succession but are unclear.
It's safe to say subtlety does not feature in this show and the first act especially feels considerably pantomimic, with the one liners from the film not transferring to stage as effectively. There are also pacing issues, which are resolved a little in act two but do make the musical drag.
However, aside from these issues, there's no denying that this is a spectacularly well performed musical. Amongst the main plot, there's a huge focus on the rivalry of Moses and Pharaoh's birth son, Ramses, which is brought to life excellently by Luke Brady and Liam Tamne. Both actors give their everything to the limited dialogue and create characters which we feel for and are both vocal powerhouses. Christine Allado and Alexia Khadime are accomplished in their performances and perform the Oscar winning song When You Believe brilliantly. With Allado giving a particularly strong performance as the headstrong Tzipporah; it's wonderful to see a woman on stage motivated not only by the man in her life.
As Jethro, Gary Wilmot is underused but excellent in the time he's given. Credit must also be given to Debbie Kurup, Mercedesz Csampai, Simbi Akande and Jessica Lee who stand out throughout. Mia Lakha is also brilliant in her various young roles and is certainly an up and coming star of stage.
As Jethro, Gary Wilmot is underused but excellent in the time he's given. Credit must also be given to Debbie Kurup, Mercedesz Csampai, Simbi Akande and Jessica Lee who stand out throughout. Mia Lakha is also brilliant in her various young roles and is certainly an up and coming star of stage.
Visually this show is a treat. Kevin Depinet's hanging set wraps around the auditorium and cleverly makes the vast space feels more enclosed and welcoming. The simplistic design makes use of many projections by Jon Driscoll which are effective at transforming the space feeling grand, lavish and imposing despite not physically being there. The money moments, such as the parting of the red sea and the building of the pyramids are extremely well done.
It's Sean Cheesman's choreography which is the real star of The Prince of Egypt. Sharp and so so energetic it's amazing to watch. The ensemble come together to create various scenes, materials and emotions which tire you out just watching. Even in tableau moments, the precision is clear to see and this has got to be one of the strongest and most energetic ensembles around.
For spectacle and energy, The Prince of Egypt is worth a visit. It's not going to change your life but it'll provide a fun few hours of superfluous theatricality that looks and sounds very pretty.
The Prince of Egypt is currently booking at the Dominion Theatre until 31 October 2020
photo credit: Tristram Kenton
Thursday, 16 January 2020
Rags, Park Theatre | Review
Rags
Park Theatre
Reviewed on Wednesday 15th January 2020 by Olivia Mitchell
★★★★
Originally developed by Fiddler on the Roof writer, Joseph Stein as somewhat of a sequel, Rags has been reworked many times since the original Broadway production closed after only four performances. Lucky for us, the Hope Mill Theatre production was rather more a success and has transferred to London's Park Theatre.
David Thompson's rewrites have made this a sleek production that ebbs and flows well, whilst retaining an gitty side. With four onstage musicians and wonderful performances from the cast, Rags is certainly successful in its ambition.
Opening with a solitary violinist who is extremely reminiscent of Fiddler, the musical follows two Jewish girls as they make port in New York and try to create a new life for themselves and their families. There are various subplots about worker's rights, the Jewish contribution to art and culture, conformity and of course, romance. Most of the time the musical is paced well but there are still times which feel a little slow, or confusing as too much is happening at once.
However, overall this musical isn't about the plot, but rather the human experience and genuine struggles faced by people trying to live the American Dream that was promised to them. Its a clear window to the vile anti-semitic views held and the trials which are unfortunately still faced today. It's quite shocking that a musical written in the eighties, still has so much relevance today.
Whilst the songs (music by Charles Strouse, lyrics by Stephen Schwartz) are not individually particularly memorable, the overall moods created are very moving and do the job to tell the story, even if you won't leave the theatre humming the tunes. Nick Barstow's arrangements are beautiful and the cast give exceptional performances.
Carolyn Maitland gives a sensational performance as Rebecca. Her solo moments are complete vocal treats and she leads the show with a delightful nuance. Alex Gibson-Giorgio is instantly likeable and vocally exemplary as the Italian immigrant, Sal. As bright eyed Bella, Martha Kirby is an absolute vocal star who brings the youth and vulnerability of the character to life excellently, and is certainly one to watch! Oisin Nolan-Power as Ben and Rachel Izen as Rachel also give stand out performances.
photo credit: Pamela Raith
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