Adapted from the beloved 1998 DreamWorks animated film of the same name, The Prince of Egypt follows the story of Moses from his infancy through his quest to free the Hebrew people from the Pharaoh of Egypt. Rooted in the biblical themes of sacrifice, trauma and justice— with music by Wicked composer Stephen Schwartz— this musical pairs the epic Book of Exodus with the heartfelt, Hollywood rendition of the film. Regardless of one’s faith or lack thereof, audience members will relate to the story of intricate family dynamics and its profound exploration of personal morality.
Director Wes Bridges believes it is a tale that resonates with audiences.
“This is a story of humanity, figuring out what you believe to be right and true, and everyone will be able to connect with that,” Bridges said.
Though phenomenal songs from the film remain, like “Deliver Us”— which was stunning and provided a goosebump-inducing introduction to the show — and “When You Believe,” sung impressively by Isabella Muñoz, many of the added songs aren’t particularly memorable. Much like the Old Testament, the musical has some lagging drudgery after its opening. The vocal and physical performances of the actors are not to be faulted, but something is missing.
It isn’t until late in the first act, when Jethro, performed by Justin Johnson, and the Midianites sing “Through Heaven’s Eyes” does one realize the missing element is joy. It’s an upbeat and colorful number masterfully delivered by Johnson that reminds audiences this is a musical and we can have fun (sometimes).
Liyah Orielle, who plays the Midian princess Tzipporah, is absolutely sensational. She shines in every scene she’s in and brings genuine warmth to all of her onstage relationships, particularly her chemistry with Moses. Antonio Muñoz skillfully brings the demanding role of Moses to life. He is rarely offstage and his arc from bratty palace boy to remorseful shepherd is handled with a grace beyond his years. Given his youth, it is an impressive performance; in fact, the only unbelievable part of his entire transformation is the beard he grows in the second act.
The hardworking ensemble delivers a resonant vocal sound and executes unique, evocative choreography. Utilizing twisting contortions and floating scarves, the dancers serve as powerful physical and emotional storytelling devices. Kaitlyn Darnell is a particular delight as an ancient Egyptian saleswoman hawking an unrelated inventory of sundials and fresh fish. She was really trying to sell that sundial.
Additionally, the inclusion of the production’s youth cast is highly effective. Every child soloist is exceptional, and placing them onstage during the show’s most heart-wrenching numbers adds a profound layer of emotional depth.
Partially responsible for the beautiful blend is Jeremy Goeckner, who is running Muni’s sound board for the first time. His understanding of the music was apparent as many notes rang out with a finely tuned clarity and mix. Kevin Cline’s lighting design also produced some exciting moments, particularly with the parting of the Red Sea, and during the final journey to the promised land.
Impressive performances and technical aspects aside, this show has been presented with some serious challenges. Multiple lead and ensemble cast members dropped out, leaving Robert Napier and Timeka Malone to fill in for the hefty roles of Ramses and Nefertari later in the rehearsal process. One would never be able to tell, as their parts were professionally delivered. The set, for all its ambition with an uncountable number of moving pieces, was not finished, and much of the principal cast didn’t want to provide comment for this article. Bridges cited the continued controversy surrounding the Muni and its Board of Trustees as the reason for both the lack of volunteers to help with the set and the cast declining interviews.
Perhaps real-world turbulence is what makes the heavy emotional themes of the show ring true. Chrissy Mauck, who portrays Moses’ mother, Yocheved, and beautifully delivers the spine-tingling opening solo, noted, “There’s so much heart in this show. I hope people can take a little sprinkle of that home with them because it’s really hard out there.”
In the end, this rendition of The Prince of Egypt mirrors its own narrative — born out of trial, sustained by sacrifice and held together by sheer willpower.
ThePrince of Egypt continues its run at the Springfield Muni July 15-18. Performances start at 8:30 p.m. and tickets are available at TheMuni.org, or at The Muni box office beginning 90 minutes before each performance.
