It’s big, bold, bright and loud. It’s Village’s makeover of Elton John and Tim Rice’s makeover of Giuseppe Verdi’s “ monumental “Aida.”
What it isn’t is focused.
Don’t get me wrong. Tim Symons’ musical direction sparks a powerhouse orchestra. Elton John’s Reggae, Motown, gospel, pop, rock and African slant contribute a strong, rich, exciting quality that fits a first class spectacle. It’s the very best of the “Lion King’s” music man; sound with scope and a real treat.
Add to the sound of music the battery-charged energy of Steve Tomkins’ choreography, and you’ve got that Broadway feel that Village is making a name for itself with. Physical and forceful, that’s this ticket.
Carey Wong’s gorgeous set designs, without overdoing it, magnify the vastness and desolation of the burning sands upon which Ancient Egypt centered a civilization for twenty-plus centuries. Details are representative. Artistic flair is imaginative.
Tom Sturge must, at least dabble in abstract painting. His lighting designs suggest without telling. You can’t miss the thoughtful, introspective qualities.
Ryah Nixon stirs up the show’s highlights with, by far the liveliest of the limited comedic scenes. Her Amneris —-Egyptian princess and betrothed of the heroic Radames, who is himself Aida’s star-crossed lover (Michael Murnoch, Marliss Amiea)—- has an uproariously hilarious vanity that’s got to crack you up. The song is “My Strongest Suit.” It’s “Desperate Housewives” drooling over themselves in the mirror.
On the ruthless, ambitious side of things, Bob De Dea has some in-depth, dramatic moments, as Zoser, father of the heroic Radames.
Overall, the cast isn’t particularly standout and Tomkins’ and Brian Yorkey’s directing isn’t anything to write home about but no blame intended. The book lacks focus.
This musical’s book writers —-Linda Woolverton, Robert Falls, David Henry Hwang—- bury the high tragedy in short, choppy scenes. A little reincarnation and a little father-son conflict are dragged in, and not much more than lip service is paid to the passions that motivate. It’s as if the writers had one eye on a vehicle for Elton John and the other on Verdi. No wonder the focus is mixed.
Verdi posited an epic tale of love, betrayal and forbidden love. Radames and Aida are star-crossed lovers, but Radames is betrothed to Amneris. All three are of noble birth. The background is war. Passions run deep. Ideals clash. Tragedy is classical.
All in all, this “Aida” is a whole lot of great music and a lot of fun packaged into a Hollywood ending. See it for a rousing good time but not for anything like the opera.
Reactions? Comments? Email Dale Burrows at entopinion@heraldnet.com or grayghost7@comcast.net.
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