The vast stage of the Dominion Theatre is a tough nut to crack and a number of sprawling musicals have spluttered to life for short runs there recently. Next up is THE PRINCE OF EGYPT based on an animated film from DreamWorks which I confess I’ve never seen. It’s what Hollywood used to call a biblical epic and tells the story of Moses, he of the slave exodus from Egypt, parting of the Red Sea, the plagues, burning bush etc.It has a script by the original screenwriter Philip LaZebnik and songs from Stephen Schwartz (the musical genius behind WICKED) The one creative who isn’t credited is God who, via the Old Testament, gave us the original plot in which the baby of a Hebrew slave is sent down river in a basket, to be adopted by the Egyptian royal family, who bring him us as a companion to the Prince Ramses. Their childhood friendship buckles under the weight of adult ambition, squabbles over a girl and Moses helpfully noticing that his original family are enslaved.
It’s appropriate to give a shout out to God because he or she’s barely mentioned. Yes, that’s right, this is a retelling of an Old Testament story that airbrushes out religion, presumably for fear of offending or alienating anyone. But the trouble is the emotions of the gigantic characters and their conflicts become absolutely absurd when reduced to the scale of millennials having a bad hair day. So, for instance, we get Moses worrying that he “can’t face tomorrow” in a pop ballad - after slaughtering Egyptian babies.
In other airbrushing for fear of offence is the removal of the word Israelite to describe Moses’ tribe. At the Dominion they’re Hebrews.
I wish I could be more impressed by the songs - there are 10 additional numbers not in the original film. I don’t remember one of them but the hook lines of DELIVER US and especially the Oscar winning WHEN YOU BELIEVE (made famous by Whitney Houston and Mariah Carey) are still stirring. Maybe the new material will grip on repeated listening.
The staging often looks gorgeous, with a series of sandstone platforms enhanced by massive projections that wrap around the stage and auditorium; but there’s plenty of Poor Theatre techniques too with a writhing ensemble representing water, horses, a well etc through dance and shuffling around pretend rocks.
The orchestra sounds sumptuous and Luke Brady and Liam Tamne, as Moses and Ramses, have sufficient charisma and high belt notes at the centre of the story to engage throughout. Debbie Kurup also sings gloriously as the royal queen, as does Alexia Khadime as Moses’ biological sister Miriam, and Gary Wilmot brings a little wit, twinkle and great warmth to the supporting role of Jethro.
It’s only fair to report that the audience around me seemed entirely satisfied and were very enthusiastic with their whoops, cheers applause and the inevitable press night standing ovation - hence four stars rather than three.
But I must also admit I found the whole thing bland, bland, bland and I left mystified why anyone would create a biblical musical when they’re too scared to address the religion at the heart of it. After all JESUS CHRIST SUPERSTAR manages to thrill and satisfy believers and non-believers alike.
The original 2007 Broadway run of The Pirate Queen (created by the Les Miserables team), made an estimated loss in excess of $16 million due to high running costs and mediocre box office interest. But did producer Tom Gribby’s much anticipated,