{"id":11486,"date":"2020-03-10T17:36:55","date_gmt":"2020-03-10T17:36:55","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=11486"},"modified":"2020-03-10T17:36:57","modified_gmt":"2020-03-10T17:36:57","slug":"the-prince-of-egypt-hits-london-that-dreamworks-money-though","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2020\/03\/10\/the-prince-of-egypt-hits-london-that-dreamworks-money-though\/","title":{"rendered":"The Prince of Egypt Hits London: That DreamWorks Money Though!"},"content":{"rendered":"\n

A tad too late in the game for reminding English people that they actually approve of (the idea of) some refugees, The Prince of Egypt<\/em> has arrived in London, packing \u2018em in at the Dominion Theatre and taking no prisoners (except the Hebrews). Based on the 1998 DreamWorks movie of the same name, The Prince of Egypt<\/em> tells the story you know from your babble, of a little Hebrew bebbeh whose mother put him in a basket and sent him down the river instead of keeping him to suffer the slavery and genocide of their people. That baby was discovered by the Queen of Egypt, who adopted him, named him Moses (surprise!), and raised him as her own, until he realized his heritage and decided, with the help of god, to save his people. It\u2019s a fantastic story, and really a phenomenal idea for a musical. So why is this show so lackluster?<\/p>\n\n\n\n

Honestly, it feels amateur. It feels like an early draft in terms of book (at least some of that dialogue, yeesh) and, much more so, score, which is a strange feeling to get about material that has existed in large part for more than 20 years. I hate to speak ill of my boy little Stevie Schwartz, composer of some of my favorite scores (like Pippin<\/em> and Wicked<\/em> (don\u2019t even try to pretend you don\u2019t also love the Wicked <\/em>score, no one\u2019s buying your bullshirt)), but aside from the Oscar-winning \u201cWhen You Believe\u201d, there are few musical numbers that don\u2019t feel pedestrian, despite so many golden opportunities for great songs. And the layout, my god: in Act II, there was a 40-minute span where every. single. song. sounded the same, with the same melody, same key, same time signature. It\u2019s like Musical Theatre 101 to not have songs that sound the same or achieve the same goal in a row, so to have like, 7 of them almost made me scream. It\u2019s a shame that a production this huge and this destined for a long run has such a bland score.<\/p>\n\n\n\n

The visuals of this production, however, are fire. I mean\nthat literally \u2013 there\u2019s a good amount of pyrotechnics used. This production is\ndripping with evidence of endless financial backing, and it\u2019s quite a visual\ntreat. The staging, the special effects, that stage lifting up to \u2018drown\u2019 the\nEgyptians (the best part!), it\u2019s all great. Not in an artistic way, mind you,\nnot in a \u2018wow this is sophisticated storytelling\u2019 way, but in a \u2018wow this\nspectacle is fun to watch\u2019 way. <\/p>\n\n\n\n

That extends to the cast as well. Luke Brady is a strong\nMoses, tasked with the enormous burden of carrying the show and doing a\ncommendable job. His brother-turned-enemy, Ramses, is played by a solid Liam\nTamne who gave me strong Papi from Pose<\/em>\nvibes while offering a very very different Ramses from what we\u2019ve seen before\nfrom performers like Yul Brynner, much more obviously insecure and uncertain.\nChristine Allado\u2019s Tzipporah, like most of the women in this male-centric show,\nwas sung well but felt poorly written. Her first big song is a sexy dance in a\ncage and she\u2019s like \u2018when I dance I dance for me\u2019 which could have given Miss Saigon<\/em> early-first-act vibes but\ninstead reminded me of the Crazy Ex\nGirlfriend <\/em>song \u201cPut Yourself First\u201d where the girls satirically sing \u201cmake\nyourself sexy\/just for yourself\u201d and I was like, oof. Her character continued\nto enrage me when she complained about the possibility of having to live in the\npalace in order to SAVE AN ENTIRE RACE like holy what girl get over yourself oh\nit\u2019s so sad you have to live like a princess in order to SAVE PEOPLE FROM\nSLAVERY my absolute goodness. Ramses\u2019s wife Nefertari (which every time I heard\nit was like like \u201cIt\u2019s NeferTITI oh wait no it\u2019s not\u201d) (played by Tanisha\nSpring) is similarly underwritten as a haughty bench, except she gets to show a\nsofter side  (really any side) with a\nmoving song in Act II that was, unfortunately, too similar to the ones before\nand after it. I did like Alexia Khadime\u2019s Miriam, possibly because she is only\nreally in it to act like Jasmine in the marketplace pretending to be crazy\n(except not pretending) and then singing the best song, so, lucky her. <\/p>\n\n\n\n

The ensemble is probably the hardest working in London\nright now, with endless difficult choreography demanded of them. I\u2019m not sure\nif Sean Cheesman\u2019s (stay fresh, cheese bags) nonstop, energetic, primal\nchoreography is always necessary, but it\u2019s always interesting to watch and\nfeels raw and visceral in a unique way (I almost yelled in pain just watching\nsome of the more intense moves). The talented ensemble may be the most diverse\nin London too, which is great.<\/p>\n\n\n\n

But I\u2019m not sure that huge diverse ensemble includes any Jews (and even if it did, the whole awkward dancing to chanting Hebrew felt strange). And that wouldn\u2019t be the only problem with this show in terms of that representation. This is a show about Jews \u2013 not sure if you knew, but Moses, hoo boy, he\u2019s big with us. And this is telling his entire story, from birth to the parting of the Red Sea, like, it\u2019s foundational Judaism right here. But this production, aside from treating \u2018Hebrew\u2019 like it\u2019s some exotic fictional designation (and never saying the word Jew), has sanitized the story so it never actually feels like it\u2019s about religion. It really seems like this guy Moses is doing all of this on his own, with very few, too few, mentions of how god is working through him and how god is on the side of the Jews (chosen people helloooo). Also, his guilt about all the shit he\u2019s wrought is sad but he never confronts god about what he\u2019s making him do. Seriously if you didn\u2019t know the story it\u2019s very blink-and-you\u2019ll-miss-when-they-mention-it\u2019s-god\u2019s-doing, when they mention that god wants to save the Jews. Which is weird. Maybe they wanted this to feel like a more universal refugee story, which is valid for today\u2019s society, but there\u2019s a way to do that without making it feel like Jewish erasure. <\/p>\n\n\n\n

If you are a discerning theatregoer, you are better off forgetting about Charlton Heston\u2019s crappiness for a bit and rewatching The Ten Commandments<\/em> film and playing \u201cWhen You Believe\u201d at the opportune moment, like when I watch Legally Blonde <\/em>and pause when she sees her name on the list of interns so I can sing \u201cSo Much Better\u201d from the musical version. If, instead, you are an average London audience member who loves spectacle, you will love this.<\/p>\n\n\n\n

<\/p>\n\n\n\n

INFORMATION <\/span><\/strong><\/p>\n\n\n\n

Act I ended after an hour and 20 minutes, and the show\noverall ended after 2 hours 45 minutes. Yes it is about 20 minutes too long.<\/p>\n\n\n\n

I sat in the stalls, and I recommend sitting on the house\nleft side aisles for easy access to the ladies rooms. There\u2019s one up from the\nbar at the back on the left, and there\u2019s one if you sit on the extreme left all\nthe way down by the stage, so that\u2019s a fun little secret few people knew about.\nThis theatre is a g-d barn so I can\u2019t say if the right side of the house was\nset up the same.<\/p>\n\n\n\n

Like most things at the Dominion Theatre, the audience\nbehaves like they\u2019re at a rock concert (as most long-running recent productions\nhave been rock concert-ish\u2026or the traveling megachurch services, not even\njoking). Lots of phones, lots of talking and even at like, regular volume? I\nhad to yell at an old man for nonstop loud talking and he didn\u2019t stop so I had\nto sit back and stew and hope that corona gets him. <\/p>\n\n\n\n

Maybe I\u2019m just spoiled with well done theatres lately, but\nthe Dominion is a mess right now, not really up to par with small hospitality\nthings that every other West End and near-West End\ntheatre does. Like, they have no water pitchers at the bars. If you want water\nyou have to wait in the regular long bar line. What\u2019s up with that nonsense!\nAlso, only one of the stalls doors had a content warning sign (strobe lights,\nflashing, fire, &c) and I had to go searching for it. And there are no\nsigns for the run time information so you have to find an usher to ask.<\/p>\n\n\n\n

Also, programmes are \u00a36. And they aren\u2019t even giant\nsouvenir-edition ones! Just for the regular small programme. PASS (over). <\/p>\n","protected":false},"excerpt":{"rendered":"

A tad too late in the game for reminding English people that they actually approve of (the idea of) some refugees, The Prince of Egypt has […]<\/p>\n","protected":false},"author":2,"featured_media":11487,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[147],"tags":[],"class_list":["post-11486","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment"],"yoast_head":"\nThe Prince of Egypt Hits London: That DreamWorks Money Though! - Laughfrodisiac<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/laughfrodisiac.com\/2020\/03\/10\/the-prince-of-egypt-hits-london-that-dreamworks-money-though\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Prince of Egypt Hits London: That DreamWorks Money Though! 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