News: The Prince of Egypt extends its West End run

In a bold move, The Prince of Egypt has extended its West End run until 4th September 2021 with provisional plans to reopen from 1st November 2020 in accordance with government advice.

It feels hopeful at best, not least because it wasn’t the show of my dreams nor an obvious commercial success, but I suppose making plans is a step in the right direction even if those plans ultimately have to change.  Continue reading “News: The Prince of Egypt extends its West End run”

Album Review: The Prince of Egypt (Original Cast Recording)

There’s two songs I could listen to for ages on the Original Cast Recording of The Prince of Egypt but I could easily leave the rest

“No power on earth can change that, brother”

There was a moment in the last couple of days as I listened to ‘Make It Right’ for the umpteenth time that I wondered whether I’d been a bit harsh to The Prince of Egypt when it opened in late February. I’d made the note ‘lovely duet’ at the time and on record, the sweet/strong combination of Liam Tamne and Luke Brady’s voices is an absolute winner as their fraternal connection is tested over soaring contrapuntal melodies and an orchestral backing that flows as effortlessly as the Red Sea

So too, the show’s most famous song (so much so that the publicity campaign basically centred on it) ‘When You Believe’ has a choral majesty that is undeniable. Alexia Khadime and Christine Allado lead the company with real style – the interplay of their voices in the middle chorus is spine-tingingly lovely – and the incorporation of the Hebrew-sung bridge (led by Mia Lakha) is a rare graceful moment of geo-specificity that works. Continue reading “Album Review: The Prince of Egypt (Original Cast Recording)”

Review: The Prince of Egypt, Dominion Theatre

Despite an excellent cast, The Prince of Egypt might be in need of a miracle at the Dominion Theatre

“For the rest of my life I’ll have to live with this”

Way way back, many centuries ago, but a little bit more after the Bible began, someone decided that Old Testament justice really was the way forward for musical theatre. And so here we have a musical that features two ethnic massacres of children but it’s all OK if you sing a ballad afterwards to atone (even if you’ve sanctioned the murder of your de facto nephew) and others will then tell you it’s ok “when you believe”.

The Prince of Egypt picks up a few generations after Joseph and co set up shop in the land of the Nile, where the Hebrew population is now spiralling out of control for the Egyptian authorities. Enlightened thinking about immigrants hasn’t quite reached these shores, so the Hebrews find themselves enslaved and upon the order of the slaughter of all their newborn boys by a grumpy Pharoah Seti, an intrepid Yocheved pops her baby into a basket and hopes that he’ll get picked up by a queen rather than a crocodile.  Continue reading “Review: The Prince of Egypt, Dominion Theatre”

News: cast of The Prince of Egypt announced

Full casting has been announced for the arrival of The Prince of Egypt at the Dominion Theatre next year.

Joining the previously announced Luke Brady (Moses), Liam Tamne (Ramses), Christine Allado (Tzipporah), Alexia Khadime (Miriam), Joe Dixon (Seti), Debbie Kurup (Queen Tuya), Gary Wilmot (Jethro), Adam Pearce (Hotep), Tanisha Spring (Nefertari) and Silas Wyatt-Barke (Aaron) will be Mercedesz Csampai (Yocheved), Simbi Akande, Casey Al-Shaqsy, Joe Atkinson, Danny Becker, Felipe Bejarano, Pàje Campbell, Adam Filipe, Soophia Foroughi, Natalie Green, Jack Harrison-Cooper, Rachael Ireson, Kalene Jeans, Christian Knight, Jessica Lee, Oliver Lidert, Jay Marsh, Scott Maurice, Carly Miles, Sam Oladeinde, Alice Readie, Christopher Short, Ricardo Walker, Danny Williams, Niko Wirachman and Sasha Woodward.

The Prince of Egypt has music and lyrics by Stephen Schwartz and a book by Philip LaZebnik and is based on the DreamWorks Animation film of the same name. It will have direction by Scott Schwartz and is choreographed by Sean Cheesman with set design by Kevin Depinet, costume design by Ann Hould-Ward, lighting design by Mike Billings, sound design by Gareth Owen, projection design by Jon Driscoll and illusion design by Chris Fisher. Orchestrations are from August Eriksmoen with musical supervision and arrangements by Dominick Amendum, musical direction by Dave Rose and casting by Jim Arnold.

Review: Geek! A New Musical, Tristan Bates

“We’re sorry that there wasn’t much plot”

I cannot lie to you, when I came out of Geek! A New Musical at the Tristan Bates, I thought (and tweeted) that it was one of the most puerile and offensively bad shows I had seen in quite some time. A few days distance has mellowed that viewpoint a little, but mainly to replace indignation with frustration at the choices in both play and production. Writer Scott Morgan has put together a pretty bog-standard American high school drama – when Queen Bee Flissy Joy has her plans to win the school beauty pageant derailed by Daddy cutting her off, she and her clique of plastics turn to new girl plain Jane to makeover her into a prize-winning stooge and catch the eye of handsome jock Billy-Bob into the bargain. But it is such a saturated genre that every plot point, twist and gag can be traced back to Glee, Cruel Intentions, She’s All That, Mean Girls, etc etc… and with little sense that anything new has been added here.

Musically, Morgan’s score is functional rather than distinguished, Benjamin Holder’s over-amplified musical direction far too heavy on the drums (on this night at least) though it is sung proficiently. But dramatically, it suffers from trying to be too clever in self-referencing as a pastiche of both the high school genre (‘don’t run down the corridor, douchebag’) and of musical theatre itself (‘”where were you?” just singing a song outside…’), without having the requisite sharp-edged wit or dramatic chops to carry it off throughout the whole show. Perhaps to overcompensate for this, directors Porl Matthews (who also designs) and Jamie Chapman Dixon throw everything, the kitchen sink AND the blow-up doll at the show with a key note of the lewder and cruder the better which batters away with an unrelenting persistence which may well be to your tastes. It wasn’t to mine. Continue reading “Review: Geek! A New Musical, Tristan Bates”