Aida, a musical by Elton John and Tim Rice, revolves around a Nubian princess who is captured and enslaved after her kingdom is overrun by the Egyptian army. She is brought back to Egypt, where she is “gifted” to Amneris, Pharaoh’s daughter, to serve as another one of her many handmaids. Amneris’ betrothed and Aida’s captor, Radames, is a brave and boastful captain who, subsequently – and rather predictably – falls in love with the confident and beautiful Aida. As Radames and Aida’s feelings for each other deepen, the couple faces tremendous obstacles, including jealousy, pride and warring nations. Aida, torn between her love for Radames and her duty to her people, struggles with loyalty to both her heart and her homeland. Spoiler alert: since it was originally conceived as an opera, the story ends tragically but also has a glimmer of hope with Amneris’ steadfast resolve to rule Egypt with compassion, recognizing the futility of war and the power of love.
Aida, written by the beloved composer Giuseppe Verdi, was first commissioned by and premiered at Cairo’s Khedivial Opera House in December 1871. The modern adaptation premiered on Broadway in 2000 to mostly positive reviews with many praising the vocals, music and production values while noting the show’s storyline and character arcs were a bit thin. The music is indeed emotive and captivating in nature with songs like “Written in the Stars” and “The Gods Love Nubia.” I enjoyed the musical’s blend of pop, rock and Broadway styles, among others. I watched a tech rehearsal where the Springfield Theatre Centre production team was still finalizing a few light effects and set details but overall, it was a memorable production, mainly because of the powerhouse vocals and passionate performances.
Jasmine French (Aida) and Reggie Guyton (Radames), who both came straight off their indelible turns in STC’s Rent to star in Aida, command the stage as the star-crossed lovers. Both regal and vulnerable, they have wonderful chemistry and moved me several times with their demonstrative portrayals. French, in the title role, is a force. It would not surprise me in the least to learn her songs have been bringing audiences to their feet every night.
Right alongside them is Kinsey Peotter performing the role of Princess Amneris. As the third point in the love triangle, Peotter’s characterization is equally funny, flirtatious and sad. Her singing wowed me several times, most notably during “I Know the Truth.” Justin Johnson also impressed with his vocals and villainous characterization of Prime Minister Zoser.
The entire ensemble did a great job elevating the show. Vocal director Tiffany Williams had everyone sounding fantastic, and the orchestra in the hands of Blake Martin created several tingly moments. The cast performed on a simple but effective set by Aimee Daniels while wearing fittingly stylized and a few glittery fun costumes by Miriam Carter. Choreography by Autumn McDevitt and lighting design by Kevin Hootey Kline and Chad Hayes rounded out the production.
An observation: I feel like I’ve been seeing more period shows where performers are wearing their own contemporary glasses onstage, as was the case here. While it might not be a total deal-breaker for an audience, I do admit I find it somewhat distracting. I empathize with actors of the bespectacled class but whenever I see it, I feel a little like Christopher Reeve finding the penny in Somewhere in Time. I did hear instructions reminding the cast to remove their watches before the rehearsal started so perhaps a similar note about setting one’s modern glasses aside or staff finding more subtle eyewear befitting the era isn’t too far out there.
Co-directors Megan Hickman and Emily Noel did an admirable job of assembling and leading a capable cast and staff who are clearly dedicated to telling this story in a thoughtful way. And while it does end on that rather sad note, there is still a link to the present that leaves one feeling hopeful – a reminder for all of us that we can learn from our past and evolve into a better future.
STC’s Aida continues Friday, Feb. 14, and Saturday, Feb. 15, at 7:30 p.m. and Sunday, Feb. 16, at 2 p.m. at the Hoogland Center for the Arts in the LRS Theatre. Tickets available at HCFTA.org or at the door.“
This article appears in The Wedding Issue 2025.
