Reviewed 4/24/06
A few weeks ago, Broadway Palm Dinner Theatre sent out an email requesting the press to note that the name of their upcoming production was, in fact, Elton John & Tim Rice’s Aida, in case anyone thought that this five year-old company might intend to mount the original Verdi opera. Perish the thought: Elton and Rice’s Disney-funded musical is perfect for BPDT – it’s light, full of sweet music and innocuous lyrics with a little bit of drama, and it is another star vehicle. In this case, the show is written with three choice roles. Director Brian J. Enzman has been able to find two top performers for this love pyramid. Well, two outta three…
Nubian Princess Aida (N’Kenge) is captured by studly
Egyptian warrior Radames (Geoffrey Alan Nelson) and brought
back to Egypt as a gift for his vain fiancée, Princess Amneris (Stephanie
Lee). By marrying Amneris, Radames is next in line for the throne,
thanks to the machinations of his dad, the evil Zoser (Paul Gregory
Nelson). Unaware their handmaiden is actually a princess, Amneris
and Aida become chums while Radames and Aida become hot for each other. With
the aid of Radames’ servant Mereb (Curtis Wiley), word
spreads of Aida’s capture among the Nubian slaves, who pledge their support.
When Aida’s dad, the Nubian King Amonasro (Dante J.L. Murray),
is captured, the trio of lovers is tested; which is more important, love or
state?
What is it about one-named women? Does losing the last name increase the talent level? In this case, it’s worked for N’Kenge. This lovely soprano has a gorgeous voice, an expressive face and body, and strong dancing skills. A West End, Julliard, and Off-Broadway veteran, her performance raises the level of those around her.
Lee’s bubbly blonde Amneris is beyond cute. Even more impressive than her great musical theatre attributes of a beautiful voice and strong movement, she also does an excellent acting job, strongly recreating the character’s arc from vanity to wisdom. These two women make a strong base for this love triangle, and it’s enjoyable to watch them fighting for their man. The only regret is that the man they fight for is not quite at their level.
Don’t get me wrong, Geoffrey Nelson is no slouch. He’s got a nice chest that Enzman gives him every chance to bare. He has a pleasant voice and some stage presence, it’s just that these two women are hard to match. He’s a perfectly good musical theatre hero trapped between two great women.
The supporting cast is equally mixed. Wiley is wonderful comic relief as the Nubian equivalent of MASH’s Radar. He is endearing and very funny. Paul Nelson, however, needs only a thin moustache to twirl to become the perfect stock villain, and the outfits created for him by John White are embarrassingly unflattering.
Ordinarily set design is hindered by the lack of fly and wing space, but Evan F. Adamson has created one of the most imaginative designs this theatre has featured. It is complemented by Russell A. Thompson’s color-saturated lighting. White’s other costumes are not as bad as those made for Paul Nelson, but only those for Lee and her servants really stand out. Ron Hutchins’ energetic choreography leans a little too much toward walking like an Egyptian, but it has plenty of rousing moments, too. J.R. McAlexander’s orchestra sounds a little thin and electronic this time around, but not enough to overwhelm the production.
N’Kenge and Lee alone are worth the price of admission. The good ensemble and Enzman’s tight pacing and eye-catching blocking are even more reasons to give Elton John & Tim Rice’s Aida a visit. This is dinner theatre as it’s meant to be: fun, fluffy, and featuring a couple of excellent performances.
