HURRICANE — When determining what makes a theater experience go from ordinary to extraordinary one need only look at Hurricane Theatrical’s latest production of The Prince of Egypt for a pattern to follow.
A rich, challenging musical score? Check. Talented cast filled with amazing vocalists, actors and dancers? Check. Strong technical team that pays careful attention to lighting and sound as well as set and costume design? Check. Oh, and a storyline of biblical proportions? Uh, check.
Perhaps the most noteworthy element is that the fulfillment of the preceding list never felt like boxes being checked. Instead, they were woven seamlessly into the audience experience, creating a moving story filled with real characters, fragile relationships, painful lessons, and joyous celebrations.
Plucked from the pages of the Old Testament, the basis for The Prince of Egypt is known to Christians and Jews alike, as well as a myriad of other religious and non-religious individuals familiar with the story of Moses and his efforts to free his people from bondage to the Egyptians. With music and lyrics by Stephen Schwartz and a book by Philip Lazebnik, this sweeping narrative begins with Moses’ journey from his mother’s arms, via a basket on the Nile River, into the heart and home of Tuya, wife of Pharoah Seti. Moses is raised as royalty, brother to Ramses who is destined to follow his father as Pharoah. It is only when Moses discovers the truth about his heritage as a Hebrew, that he flees. When he is called upon by God to help free the Israelite slaves, he returns to face his brother, and God’s power is unleashed in the form of plagues, and the parting of the Red Sea to usher Moses and the Israelites into the next chapter of their existence.
Such a production simply cannot be staged without strong actors in the leading roles of Moses and Ramses, and Pierce Robison and Jaiden Scott are the perfect duo to fill these Egyptian sandals.
Marked by a warm, and friendly chemistry anytime they are on stage together, one could easily believe Robison and Scott are friends and brothers, growing up together in the Egyptian palace, stirring up mischief (“Faster”) and always having each other’s backs. While they each have their own stirring solos, including “Footprints on the Sand,” and “For the Rest of My Life” for Moses (Robison) and portions of “All I Ever Wanted,” and “The Plagues” for Ramses (Scott), it is when their voices blended in harmony on their duets like “Make It Right” and “Always On Your Side” that the magic took an even greater hold.
Their separate transformations – one to pharaoh, the other to prophet – unfold beautifully side-by-side, a directorial decision by Director Kyle Myrick that allows the audience to appreciate the juxtaposition of their changing roles, but also the similarities in the pressure they feel to live up to their life callings.
While there are a remarkable number of standout individual performances, not the least of which include Cambrie Capitan in her role as Tzipporah, Ashley Fawson as Miriam, Drew Burton as Hotep, and Kyle Jacobsen as Jethro, much of the strength of this production is the result of these individuals and others coming together as a group to bring the message and the music into the heart of each member of the audience.
From the opening strains of “Deliver Us,” it is clear the ensemble produces a collective vocal and dancing talent greater than the sum of its parts. With sweeping music and lyrics, it feels like there is just one epic vocal number after another, with highlights including, but not limited to, “Through Heaven’s Eyes” courtesy of Jacobsen as Jethro, and “The Plagues” by the entire company, along with “When You Believe,” with Fawson and Capitan’s voices.
While the vocal talent deserves the preceding high praise, one simply cannot overlook the beautiful choreography and dance skills peppering this production. Choreographer Sammy Myrick uses dancers and movement in lieu of special effects in several key moments, and the result is actually even more impressive. For example, the basket in which the baby Moses is concealed makes its way down the Nile River at the hands of multiple dancers dressed in flowing costumes, illustrating the ebbs and flows of this great water source. Another even more powerful use of footwork and fabric is when the first-born children of the Egyptians are killed. Four women maneuver gracefully across the stage, holding bundles of cloth meant to suggest a baby in a blanket. Then, one by one, they tossed the gauzy fabric away from their hands to reveal the emptiness inside, symbolizing the ache of each child’s death.
Traditional choreography is also used to elevate the larger group numbers. Dance Captain Mattix Espinoza, along with a team of talented dancers, delivers high energy acrobatics and carefully choreographed movements to depict the enthusiasm of Jethro’s family in the desert (“Through Heaven’s Eyes”) and the desperation of the Israelite slaves (“Deliver Us”).
As has come to be expected in each of Hurricane Theatrical’s productions, the lighting design by Kyle Myrick, and its execution by the technical team, makes a remarkable impact on what is happening on stage. In particular, the miracle of turning the water in the river to blood, and later the parting of the Red Sea, would not have been possible in this space without excellent lighting elements.
For the most part, the costuming, designed by Sammy Myrick with alterations by Debbie Garrett, along with the hair and makeup, the designer of which was not credited in the program, are effective in matching the tone and time of this show. However, the costumes, hair, and makeup of Pharoah Seti and his wife Tuya do not seem to be consistent with the rest of the cast. In the place of dramatic designs that would fit the Egyptian fixture, Seti in particular feels like someone you might pass on the streets of Southern Utah. In contrast to the rest of the authentically-dressed cast, these characters unfortunately stood out amongst the others. That said, both Mike Bearden as Seti and Carolyn Murset as Tuya do well in portraying the parental part of their characters; and the audience could feel the love they had for both Ramses and Moses, despite the challenges in those relationships.
Rounding out the accolades of this impressive show is the youthful exuberance and genuine talent of the children in the cast. Clearly the future of Hurricane Theatrical’s productions, and other companies in Southern Utah, is in good hands with up and comers like Adeline Myrick (Young Miriam), Guy Thomas (Ramses’ Son), Jace Lyon (Young Aaron) and the rest of the young cast.
While some productions of The Prince of Egypt might lean into the technical splendor of the plagues, and the Egyptian priests’ magic, this version focused instead on the message of the story, and the powerful feelings such a message stirs in the hearts of the audience. This production is definitely worth seeing if you haven’t witnessed it before and definitely worth seeing again if you already have.
