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Aida |
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Author: Linda Woolverton, Robert Falls, and David Henry Hwang (book);
Elton John (music) and Tim Rice (lyrics)
Reviewer: Carolyn Albert for Theatre Reviews Limited |
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"AIDA" - THEY GOT IT RIGHT THIS TIME!
The show is enchanting now. That's the bottom line, that the show works. Stories about the first two versions circulated quickly from Atlanta and Chicago, describing in that mean way rumors take, about the troubles plaguing the production. If those whispers kept folks from purchasing advance tickets, they'd better rush over to the Palace now, before "Aida" becomes as tough a ticket as "The Lion King."
  
Star Heather Headley in the title role is getting the kind of star-making reviews that little girls and boys dream of - and all of the praise is deserved. As thin as the late Audrey Hepburn and with similar dancer's grace, Headley projects the regal dignity called for in the story about a Nubian princess captured by the handsome Radames (Adam Pascal), leader of the Egyptian forces. Her independent spirit prompts her to assert herself, catching Radames' attention and saving the lives of the women captured with her [In Musical theater-land, everyone speaks the same language].
Radames decides to give Aida as a gift to Amneris, princess of Egypt, daughter of the Pharaoh, and his own long-time betrothed. We soon see why the engagement has lingered for nine years. Amneris is portrayed as a beautiful, bubble-headed blonde with a big wardrobe and an ego to match. Soon, Radames is captivated by his captive, when Aida reveals more noble interests and ideals.
Director Robert Falls, along with his co-authors, David Henry Hwang and Linda Woolverton, managed three important tasks for the book. First, each scene has a point and contains interesting confrontations. When Mereb, another Nubian slave (Damian Perkins) recognizes Headley's Aida, the scene and song "How I Know You" are especially gripping.
Second, and most important, the director and authors set a uniform tone for the production. Even though the serious plot has tragic consequences, the story line is light, clear, and simple - as in a comic book. Similarly, the background is uncluttered. Bob Crowley's costumes and scenic designs use bold lines and monochromatic bright colors to correlate the story visually. In a visually stunning scene blending old themes with new technology, lighting designer Natasha Katz has the three principals locked in by a giant laser triangle.
Third, musical theater pieces with upbeat finales do better at the box office. "West Side Story" didn't end with Tony's death, but with the reconciliation of the feuding gangs. "Aida's" tale of long-ago opens and closes with a modern-day couple (Pascal and Headley) spotting each other while perusing an Egyptology exhibit at a museum, staring, and drawing closer as if magnetized, a spiritual nod to the suggestion that their souls search for each other through eternity.
Musicals require memorable music and delightful lyrics. Elton John's tunes and rhythms are low key within the rock genre, far from the melodious arias that most people associate with the original opera this musical is based on. Tim Rice's lyrics seldom call attention to themselves, avoiding clever or complex rhymes. Hence, a standout song title that hinges on a pun, "My Strongest Suit," is the one moment of comic liveliness in the show. The big love ballad, "Elaborate Lives," doesn't churn emotions. The 'big numbah' to end Act I, "The Gods Love Nubia," uses repetitive chanting for effect, rather than melody or meaningful lyrics. When compared to the sweet songs of "Lion King," these fall flat.
By contrast, all of the voices are strong and interesting. Nearly every one of the featured actors has at least one major song. Casting kept an eye on potential album sales.
As Amneris, Sherie René Scott shows a nice comic ability that makes her a crowd-pleaser, even when the script calls for her to do a sudden emotional about-face and she handles that woodenly. Adam Pascal has great looks and a thrilling voice, but he conveys nothing he doesn't say or sing. If only by contrast, Heather Headley steals every scene she's in with each arch of her long neck, tense splay of her long fingers, and downturn of her broad mouth. Expressive? Every inch of her wiry body transmits electricity.
John Hickok makes a fine villain, with support from Daniel Oreskes and Tyrees Allen as rival monarchs. The ensemble features 18 excellent dancers imaginatively choreographed by Wayne Cilento. Clear sound by Steve C. Kennedy facilitated the frequently-interesting orchestrations and musical arrangements co-authored by Paul Bogaev, who also directed the orchestra.
So long as Headley stays with the show, they've got a winner. She makes you care about Aida immediately. She will not be easy to replace.
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Produced by Hyperion Theatricals (a unit of Buena Vista; a Walt Disney Company): Peter Schneider & Thomas Schumacher. Directed by Robert Falls. Music by Elton John. Lyrics by Tim Rice. Book by Linda Woolverton and Robert Falls & David Henry Hwang. Scenic and Costume Design by Bob Crowley. Lighting Design by Natasha Katz. Sound Design by Steve C. Kennedy.
CAST: Heather Headley (Aida), Adam Pascal (Radames), Sherie René Scott (Amneris), Damian Perkins (Mereb), John Hickik (Zoser), Daniel Oreskes (Pharaoh), Amonasro (Tyrees Allen). Ensemble: Robert M. Armitage, Troy Allan Burgess, Franne Calma, Bob Gaynor, Kisha Howard, Tim Hunter, Youn Kim, Kyra Little, Kenya Unique Massey, Corinne McFadden, Phineas Newborn III, Jody Ripplinger, Rkaymond Rodgriguez, Eric Sciotto, Samuel N. Thiam, Jerald Vincent, Schele Williams, Natalia Zisa.
Theater: Palace Theatre, 1554 Broadway @ West 47th Street.
Schedule: Tuesday - Saturday at 8, Wednesday & Saturday at 2, Sunday at 3. Tickets: At Box office or 212/307-4747.
Audience: Pre-teen through adult.
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