Plenty of people travel to visit family and friends during this festive time of year. While I don't anticipate getting on a plane, I've recently been able to travel around the world thanks to several new, very good-to-excellent theatrical productions that I encourage all theatre lovers to check out.
The Prince of Egypt: The Musical
For religious folk such as myself, it was a little odd when 1998's animated movie The Prince of Egypt was released during the height of the Christmas season rather than during Passover/Spring. Well, go figure: the Steven Spielberg-produced musicalization of the Old Testament's Exodus saga became a box office hit and won an Oscar for its main theme song, "When You Believe."
Acclaimed composer Stephen Schwartz (who subsequently did a little show called Wicked) revised and added to his film score for a stage adaptation of The Prince of Egypt that played the Dominion Theater in London's West End for 6 weeks in 2020, before the COVID-19 pandemic forced its premature closure. The production re-opened in mid-2021 and ran through early 2022. It was captured on film before a live audience and, in honor of the movie's 25th anniversary, was just released December 5th to buy or rent on digital from NBCUniversal.
Directed by Scott Schwartz (Stephen's son), the musical's plot centers on two unexpected adoptive brothers: Ramses, son of Egypt's pharaoh and destined to become pharaoh himself, and Moses, the biblical savior who would lead his fellow Hebrews out of Egyptian slavery. (Credit for this dramatic development should go to 20th-century film producer Cecil B. DeMille rather than anyone actually involved in writing the book of Exodus.) Tensions grow between the pair and Moses ends up exiled. God appears to him in the wilderness and commissions Moses to return to Egypt in order to free his people. Plagues descend, seas are parted, but all eventually ends well for the Hebrews.
In the stage version's biggest departure from its cinematic predecessors, things end well for Ramses too. Schwartz Sr. and book writer Philip LaZebnik decided to let Ramses survive relatively unscathed rather than be marooned in the middle of the Red Sea a la the movie. While this may upset purists, it is organic in light of the musical's more bromantic depiction of the relationship between Moses (played by hunky Luke Brady) and Ramses (the charismatic Liam Tamne). They get to reconcile during the finale and even exit the stage with their arms around each other. Viewers can definitely quibble about this from both dramatic and theological/historical perspectives.
That being said, The Prince of Egypt: The Musical is impressive both musically and visually. In addition to five of the songs he wrote for the film, Stephen Schwartz has provided no less than ten new songs. The most memorable of these are "Footprints on the Sand" and the show-stopping, dance-oriented "Simcha." Sean Cheesman's energetic choreography is best employed when the dancers embody not only humans but horse-drawn chariots and even the famed Burning Bush! The production also boasts striking scenic and costume design. Whether viewed during Christmas, Passover or some other time of year, Reverend recommends it.
From Egypt, we travel to the "non-Confederate" (as stated in the play's subtitle) American South for the current and fantastic Broadway revival of the late Ossie Davis's Purlie Victorious. Its full, winking subtitle is A Non-Confederate Romp Through the Cotton Patch. Though set during the 1950's, there are plentiful indications that the Confederacy remains alive and well on the Georgia plantation the title character and other black characters grudgingly call home.
Tony Award winner Leslie Odom, Jr. (Hamilton) plays the Reverend Purlie Victorious Judson. As the play opens, Purlie has just returned from a trip where he recruited a gullible young woman, Luttiebelle (a delightful performance by Kara Young), to present herself as the next of kin to a late worker. By doing so, Purlie hopes plantation owner Ol' Cap'n Cotchipee will release some money the worker left. Purlie intends to use the money to buy a local, long-closed church in order to preach civil rights to his neighbors.
Purlie Victorious is first and foremost — and thankfully — a comedy. But playwright Davis intended it to make more than a few serious points about the state of civil rights in the US when it first premiered on Broadway in 1961 (it was adapted into a musical, simply called Purlie, a few years later). Many Southern cities were still segregated at the time, and their black citizens were frequently dehumanized. While some things have definitely improved since then, this play's current revival makes clear we still have a way to go. This is most notable in its depiction of white police officers who are under the sway of the enduringly racist Ol' Cap'n Cotchipee.
Odom, Jr. is charming in the multi-faceted title role. He gets to be both serious and comedic, plus he gets to preach and sing a bit. I fully expect him and the previously mentioned Kara Young to receive Tony nominations in 2024. While the entire supporting cast is great, recognizable character actor Jay O. Sanders is a standout as Ol' Cap'n Cotchipee, as is Billy Eugene Jones as Purlie's duplicitous yet hapless brother. Perhaps most impressive in this Kenny Leon-directed production is Derek McLane's scenic design, which features the ramshackle home set transforming into a stately church before audience members' eyes during the play's climax. Reverend truly felt like I'd had a religious experience.
Purlie Victorious is now playing at NYC's Music Box Theater through February 4th, 2024.
In terms of theatrical geography, I next traveled north via the aptly-titled new musical How to Dance in Ohio. Inspired by an award-winning 2015 documentary, it is the groundbreaking and instantly lovable tale of a group of young adults on the autism spectrum who are preparing for their first-ever Spring formal dance. It just began an open-ended run last week at the Belasco Theater in NYC.
How to Dance in Ohio breaks ground as the first Broadway production with actors on the autistic spectrum playing the lead roles. All of them — Desmond Luis Edwards, Amelia Fei, Madison Kopec, Liam Pearce, Imani Russell, Conor Tague and Ashley Wool — are making their Broadway debuts. Additionally, the show's creators and other talent involved are on the spectrum and/or have loved ones who are. The obvious compassion, dedication and talent behind the scenes spilled onto the stage in the preview performance I attended, and I have no doubt it will continue to do so during all performances.
To their great credit, neither the musical's book nor memorable songs lecture the audience on what it means to be autistic or on the spectrum. The challenges and intricacies facing these characters are periodically revealed through their personal reflections, lyrics or mannerisms. Also significant are the sensory-friendly accommodations provided in the theater. These include quiet "cool-down" spaces, the availability of finger fidget devices, and the absence of flashing lights and loud sudden noises. Special performances during which the theater won't be fully darkened and the volume level reduced are also being offered.
I definitely encourage prospective attendees on the autistic spectrum to see the show. It's terrific and I believe you will feel powerfully represented for the first (but hopefully not last) time on Broadway!
The last stop on our "international tour" of new theatrical offerings is Argentina. The native country of acclaimed director-choreographer Graciela Daniele, it serves as the setting for The Gardens of Anuncia. This new musical inspired by Daniele's life as well as directed by her is playing at Lincoln Center in the intimate Mitzi E. Newhouse Theater through December 31st.
Daniele, whom I have long admired primarily for her work in the 1983 film version of The Pirates of Penzance, was raised by her mother, grandmother and aunt during Argentina's oppressive 1950's Peron era. Re-named "Anuncia" here as a reference to the Catholic feast of the Anunciation, she is depicted as a talented young dancer coming to terms with both her family legacy and her gifts as a performer. Daniele the director/co-choreographer (with Alex Sanchez) has assembled an all-star roster of Broadway actresses for this occasion. Eden Espinosa (Wicked) plays her mother, Andrea Burns (In the Heights) plays her aunt, and Mary Testa (Xanadu and many more) plays Granmama. Last but not least, Tony Award winner Priscilla Lopez (who played Diana Morales in the original run of A Chorus Line) serves as the older Anuncia/Graciela.
As written and composed by Daniele's longtime friend Michael John LaChiusa, The Gardens of Anuncia is a gorgeously scored and revealing piece. LaChiusa's work (which includes Hello Again, The Wild Party and Marie Christine) has often been described as "esoteric," but I dare say his songs here are his most melodic and engaging. During the performance I attended, Testa sang a bit too loudly and overpowered her castmates. Also, a bit of "magic realism" in the plot involving a talking deer (the very amusing Tally Sessions) was fun but also distracting. Anuncia/Graciela is magical in and of herself. Still, this show is well worth seeing.
And with that, Reverend wishes you all blessed holidays and a happy 2024!
Reverend's Ratings:
The Prince of Egypt: The Musical: B
Purlie Victorious: A
How to Dance in Ohio: A-
The Gardens of Anuncia: B+
Reviews by Rev. Chris Carpenter, resident film and stage critic of Movie Dearest and Rage Monthly Magazine.
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