A sprawling, epic--literally biblical--story focusing on the deep-seeded bond of two brothers through the societal pressures both have to lead against each other, “The Prince of Egypt” at the Argyle Theatre in Babylon, is the musical for those who want to travel to another world but still feel the connection to human truths that span millennia.
Directors Evan Pappas and Todd L. Underwood (who also served as the masterful choreographer) are fittingly a brothered pair like the two titular characters, Moses and Ramses. The voice of each was so fluent with one other that the direction suggested one virtuoso controller who led cast and crew in telling this heroic and ambitious story. Particularly of note is the use of humor that wonderfully captured the brotherly love of Moses and Ramses. As their story becomes more divided, the light-hearted moments also dwindle and this gave a beautiful platform for the two leads to showcase what gifted dramatic actors they both are.
Scenic Designer James Rotondo and Props Designer Callie Hester had a stage and set that was interactive and efficient for the story with secret doors, ladders, and realistic props. Specifically, the whips of the Egyptian slave drivers that appeared to have the requisite weight of a real rope so that the landing snaps evoked the deep sympathy for the plight of the enslaved Hebrews.
Wig, Hair, Make-up Designer Holly Romero had a fabulous, couture vibe for the different tribes that graced the stage. The Hebrews were dressed in simple, Eileen Fisher/quiet luxury neutrals that exuded a sense of dignity, purity, but also compliance in the tattered nature of their dress. The Egyptians in their often-times sparkled and formal looking dress contrasted painfully and beautifully as the top of the social hierarchy. In Act II Ramses dons a peach shirt that is the delicate stain of blood on his once benevolent outlook.
Musical Director Jonathan Bremmer and Music Coordinator Russell Brown had a lush sound throughout the performance with the string section making a profound impact on melodies.
Jeffery Lee Walker as Moses is brilliant as his profound connection to the story of light-hearted, comfortable prince turning into one of the world’s most famous revolutionaries, drives his intense performance. In a scene with his love interest where they observe a couple of rascally rams, his reintroduction of the blithe version of Moses is poignant as it isn’t borne of royal privilege, but of finally finding his people. Walker’s voice was formidable and had a public-speaking quality to it as it authoritatively urged the Hebrews to freedom.
Christian Fuentes Atherton as Ramses answers the question, “What if Andrew Keegan was actually an amazing musical theater actor in addition to being a teeny-bopper?” Fuentes Atherton’s dichotomy of the world ruler in Egypt who is subordinate to his machinations of his father’s wishes, his wife’s ambition, the high priest’s scheming, and the will of the people is a magnificent range exhibited by an actor. His spine actually looks broken (along with his spirit) when tragedy befalls his infant first-born son. Vocally, Fuentes Atherton soars with command, even where there was agonizing reticence before as a young man inheriting the throne.
Keith Lee Grant as Moses and Ramses’s father, Seti, and the devoted pharaoh that is unsettled about establishing the legitimacy of a royal lineage is played powerfully with great resolve and devotion, but with vulnerability that eventually manifests itself as a mortal wound. In “One Weak Link,” Grant’s voice is noble and maniacal at the same time.
Lauren Kidwell as Tuya, Seti’s queen, is introduced to the audience as a kind-hearted woman who views the abandoned baby Moses as a son meant for her. She keeps this sympathetic nature throughout the show and portrays a woman who is also a mother first superbly.
Soraiah Williams as Ramses betrothed and eventual wife, Nefertari, is a queen with a capital Q well before she has the formal title. Williams’s refined portrayal of centuries royal-blooded woman is regal from her hand placement to the swan-like nature of her neck and finally, her confidence. In “Heartless,” Williams’s voice is full and resonant. Her unique timbre is captivating in “The Plagues.”
Sydney Kamel as Tzipporah, a Midian woman enslaved for Ramses, who runs away and eventually becomes Moses’s partner, is a fantastic dancer whose energized, frenetic, and gymnastic skills made her introduction unforgettable. In “Never in a Million Years,” Kamel’s wish-upon-a-star voice belies a growing faith in Moses that carries him through to his destiny.
As this is the Long Island premier of “The Prince of Egypt,” it is a must-see for any theatre fan, but this production, with its reverberating talent carving out the uplifting tale proves “When You Believe,” there can be miracles.
PHOTO CREDIT: Richard Termine
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