Theater Review: AIDA

by John Garcia of John Garcia's The Column

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You can see they worked overtime on making this AIDA a real spectacle both in design & emotion - and that they achieved with exquisite results.

It is March 24, 2000. Broadway. I am sitting in the Palace Theater reading my playbill of this new musical written by pop maestro Sir Elton John, AIDA. Their big Broadway opening night had actually occurred the night before-which I had no hint to that bit of info till a couple of weeks later. All I knew about this musical was that it was based on Giuseppe Verdi's opera of the same name.

Midway through the first act I already knew I was hypnotized by this love story set in Egypt encased in a pop/rock score. The music, the opulence of its sets, light, and costume. The choreography. And those performances. The trio of leads was portrayed by Tony nominee Adam Pascal, Sheri Renee Scott, and an unknown beauty named Heather Headley in the title role.

The reaction of the audience in the Palace was that of a frenzied revival or rock concert. The packed house (including myself) went berserk over the show. Each song was received by ear shattering applause, screams, and hollers. The energy was surreal both on stage-and in the audience. When the final black out happened at the end of the show, the audience and I were screaming through our tears.

Even the elderly Jewish lady sitting next to me was wiping her eyes. I've had only one other experience (at that time) like that at a Broadway musical -- and that was RENT. This incidentally also starred Adam Pascal. Like AIDA, I saw RENT with the entire original Broadway cast intact.

At AIDA's curtain call I think I went slightly deaf due to the audience screaming & whistling at ear shattering decimals and clapping so hard that their hands bled. I'm sure they heard us in New Jersey! Again, this was a very rare experience.

I've seen many Broadway shows, but only three in my entire life that I have attended had this very special, nonpareil, and surreal experience that achieved such deafening audience response. The first was RENT, then came AIDA. The last time was when I saw Spring Awakening in 2007 at the Eugene O'Neill Theatre.

At the Palace stage door you would think that Brad Pitt & Madonna were starring in this rock/pop opera by the mass hysteria surrounding that door. It was an endless sea of screaming fans caged behind silver barricades.

When I finally met Heather Headley, I looked into those warm brown eyes and said directly to her, "I predict right here and now that you are going to win the Tony Award for that performance tonight!" She smiled so big, reached over and hugged me tightly, and whispered in my ear, "From your lips to god's ears"-and she kissed my cheek.

Sure enough, a mere four months later at the 2000 Tony Awards, Ms. Headley won the award for BEST ACTRESS IN A MUSICAL.

The musical itself received harsh critical response from the snobbish New York critics. They desecrated the musical. They did not care for the book, score, design, etc. Others did not like the mixture of modern elements into a period piece.

However, AIDA had the golden luck of overcoming the mixed critical response by running a staggering 1,852 performances. It would go on to win Tonys for Best Scenic Design, Best Lighting design, and in a final twist of irony, Best Original score.

The national tour came through Dallas Summer Musicals in October 2001 starring Patrick Cassidy and Simone. I went back a total of six times to watch AIDA, each night loving it more and more.

Look, I'm all for internal subtext, esoteric themes and psychological layers of drama in theater, i.e. "art". But sometimes you need to leave that "pretentious" attitude in the car and just have fun at the theater.

For me personally on that cold March night in New York I fell for AIDA, hook, line, and sinker. The score is laden with superb songs composed by the master of pop, Elton John. There are soaring ballads, gospel, rock, even some dance club flavored numbers within his score. I've gone through three CDs of the original cast recording because I just relish hearing that score over and over again.

Then there's that story. I mean come on; it's a grand operatic love story that just devastates you. You have an interracial couple who fall in love (both of royal blood) but are torn apart by politics and social barricades. This love story would make even the coldest heart melt. If not, then maybe there is no heart in that person and they need to make an appointment with the Wizard of Oz.

AIDA finally had its DFW metroplex premiere at Uptown Players (which was superb) in 2006. The show has been produced one other time here in the metroplex. Now it is Plaza Theater Company (PTC) who has taken up the challenge to produce this stratified pop musical.

PTC is a new community theater company nestled in Cleburne, which is now entering their 3rd season. I've never seen a production there, nor ever been to Cleburne. I just knew that it was the hometown of American Idol winner Kelly Clarkson.

I knew going in that this would be a community theater production, therefore it would be an unfair justice to compare them to the Broadway, National tour, or even the equity local production that I have seen. I would critique it on its on merits.

When I got there, two things immediately made me whisper to myself "oh oh" & was beginning to get very worried. First, it is a small intimate space that is in the round. Second, I notice no orchestra anywhere; I looked in the program, no musicians. That's when I realized it was taped music. I just abominate this use of pre-recorded music.

So I took a deep breath & just prepared myself to something I would regret. By the time the finale arrived I knew that my first impressions were completely wrong.

The direction by JaceSon & Tina Barrus (husband & wife duo) for this AIDA is outstanding. The intimate space actually brought the love story closer to the audience, which I appreciate. But their staging and blocking in the round is in a word -- extraordinary.

There is constant movement and you can see that they worked hard at making sure their actors worked all four sides of the house. There was some touching blocking/staging moments that just secured the dramatic emotion within the song or story that I think would have been lost in a big house.

Another swell direction element is how they paid close attention to pace & flow. Nothing makes me roll my eyes more and start scribbling on my pad than long drawn out blackouts. Not here. The cast & crew move at rapid speed various set pieces and props quickly and quietly. What did wound slightly these fast scene changes was having to wait for the dreaded music track to start.

There would be cast members on stage in the dark ready to go-only having to wait for the pre-recorded music to start. You would not have a problem like that with a live orchestra.

But kudos to the directors on making sure the actors stayed in character in the dark, and to keep everything moving in and out so smoothly.

My minor quibble in the staging was when Nebebka was taken away to be killed. It happened so fast and so close to an exit that several audience members on my side whispered their confusion. I think if they arrested her center stage (but also take a longer moment on stage to hide Aida), and then walk her to her death to the right side exit I think the moment would achieve greater dramatic intensity.

Because of the small space, the creativity these two directors did to make the musical work here was superior. The ideas for the tomb, the various chambers in the palace, the boat ramp, the boat that takes away Aida's father, the use of a video screen to show the trim of the tomb, etc. I was genuinely impressed by the fantastic creativity & direction by the Barrus duo.

As for the design elements, there were exceptional. The lighting design by Barrus was so grand, detailed, and luxuriant it actually surpassed some lighting designs that I have seen in an equity production. Barrus immerses the stage with lavish, glorious colors of intense hues.

The theater is equipped with special lighting instruments that move and follow the actor used here in wonderful abundance. Barrus also bathes the stage with sensational specials, gobos, and lighting effects that left me speechless.

As if he was not busy enough, Barrus also designed the set, which again was perfection. The floor is painted in blues to give the look of the Nile Sea. For its center it has a circular platform with the AIDA eye logo in gold and covered in sparkling glitter. Hey, when you have glitter on your stage, you already have this critic smiling from ear to ear. The walls are painted beautifully with hieroglyphs and even a huge gold Pharaoh's face. Kudos to scenic painters Michelle Mcelree & Milette Siler who assisted Barrus on this. Another great scenic design touch was the creation of those logs that stick out of the sea to tie your boat to; the stone columns for the palace, the slick glass tables for the museum, etc. These and other design pieces just added richness and detail to the production values.

Then there is Tina Barrus's splendorous costume design. You could tell she tried to emulate as much as she could the "vision" & "spirit" of the Broadway production. And you know what, this designer pretty much succeeded. You could tell the majority of the costumes were built from scratch. The solders are dressed in black satin tied in red sashes as Zoser's priests or in studded leather vests with purple piping as soldiers. All of the men's costumes had the iconic eye emblem on them as well.

She has Radames in red satin trimmed in gold, Aida in regal soft lavender, the Pharaoh in billowing golds. She even has Anmeris's wedding handmaidens in gorgeous glittery blue Egyptian gowns.

But her crowning achievements were the costumes for Anmeris and for the fashion runway show in "My Strongest Suit".

For Anmeris's first scene she was dressed in dark amethyst that was designed just like the Broadway production, making her look like a mummified Egyptian goddess. Throughout the evening her gowns and costumes were eye-popping spectacular. Barrus even designed a white satin gown with the floor length circular veil like the Broadway version.

My jaw hit the floor when the female ensemble came out in those costumes for "My Strongest Suit". Barrus and her team of seamstresses (they were thanked in the playbill) created sumptuous gowns of eye-blinding colors. But then those hats! The design & creativity of those hats had the audience whistling and applauding loudly.

I swear, this husband and wife duo can do it all! I was blown away by their vast talents as directors and designers.

As for the cast, well this is one hard working, dedicated company that went full out on the night that I attended. They gave it their all in ampleness.

Vocally this was a superlative company. The group numbers were full of booming, rich voices that carried the score with finesse. They did a first rate job on such numbers as "Dance of the Robe", "Like Father, Like Son", "My Strongest Suit", and especially "The Gods Love Nubia".

The choreography was simple, but still entertaining to watch. What added interest & enjoyment to the choreography was the wonderful energy & focus the ensemble had to go all out within these dances.

Sure, it was visible that some of the performers were a tad nervous and not as polished as the principals. But what overcame that was their great energy and full gusto approach to the show. This energetic company really won me over.

Within the ensemble there were a couple of performers who kept my interest & focus going back to them throughout the evening because they never seemed to drop out of character. These special thespians possessed that extra oomph of energy & stage presence that did indeed make them stand out. These talented individuals were Devlin Pollock, Jared Ball, Ana Guzman, Daron Cockerell & Crystal Hires (who sings divine as "Nehbka").

Kevin Poole oozes just the right amount of evilness and backstabbing betrayal as Pharaoh's advisor "Zoser". Dressed in a flowing black satin robe, Poole relishes in the villain role so much so that I think I even saw a hint of Darth Vader within his performance. The actor sings strongly in a baritone voice which was best displayed in his second act number, "Like Father, Like Son".

A Solomon Abah Jr. portrays "Mereb", the slave who is friends with everyone, from Aida to the prince. Abah does generate good, solid laughs within his performance. But sadly I felt he missed the subtext of empathy and compassion the role embodies. Also the actor seemed to struggle vocally with some high notes that were not in his register. In spite of that he was quite enjoyable in the role and the audience loved him by their applause at curtain call.

"Radames" is played by David Cook, who delivers a very good, romantic performance as the prince who falls for a slave. The actor does possess a satisfying tenor voice that works quite well with the role. However, this role's music was altered and changed dramatically after the Atlanta try out for Adam Pascal (the original actor was let go). Not many men have that soaring, belt to the back wall, hybrid rock/pop tenor voice that Pascal possesses. Thus it was difficult at times to hear Cook hit those soaring high rock tenor notes within the score, especially when he shared the stage with his two leading ladies. Also, a couple of times his Texas twang did creep up, which really doesn't fit with Egypt.

His finest vocal solo was with the touching ballad, "Radames' Letter", here he was sublime. His tenor vocals gleam within the song. Cook's acting does take command each time he steps on stage and his commitment to character radiates nicely.

Whoever plays "Aida" has the inconceivable challenge of matching Heather Headley's performance. The original cast recording alone tells you she is that one a billion with that kind of voice. I have seen other leading ladies play that role-none have match Headley's.

For PTC's production Feleceia Benton has taken on the title role and delivers a splendid performance. Ms. Benton has a regal aura and alluring stage presence that does elevate her as a princess of Nubia. She is a stunning beauty that would make any man fall for her.

Vocally she does carry the role with fabulous results for the majority of the evening. She did battle a couple of times those major high gospel notes that the role has composed.

She also did not quite reach the enormous belting vocal riffs that Aida usually does in the robust number, "The Gods of Nubia".

But Ms. Benton is sensational in one of my personal favorite songs of the show, "Easy as Life". Ms. Benton delivers a show stopping performance with that big pop aria.

Like Radames, I too fell in love with Ms. Benton as "Aida". This is a very demanding role for any actress to conquer. But Ms. Benton held her own and created a compassionate, incandescent performance as the doomed lover.

The chemistry between Cook & Benton is quite good and does touch the heart by the end. They both play off each other with equal amounts of tenderness, anger, and attraction. It would have been nice though to see just some more sensual intensity within their chemistry.

But it is Courtney Sikora who steals the show, who delivers a star turning performance as "Anmeris".

I have had the pleasure of seeing Ms. Sikora deliver solid work in several shows around Dallas (at that time her last name was Franklin).

But here, she outdid herself in delivering a commanding performance. Her stage presence illuminated with power from the second the lights came up on her. The ravishing blonde had the perfect physical look as an Egyptian princess.

Her acting choices were all right on the money. For the comedic overtones she nailed the jokes like a true pro, each zinger hitting the comedy target dead center. Her first number "My Strongest Suit" easily became a show stopper because of her peerless comedic timing, pace, & delivery.

But where Ms. Sikora truly earns critical praise is her dramatic turn in the second act. From the second she discovers the betrayal and segues into "I Know the Truth", she is magnificent riding that painful, dark character arc. Ms. Sikora strips away the layers of pain within those lyrics to bring honest pain, betrayal, and loss. She sings through her tears, choking up, and so in the moment. I had a massive lump in my throat by the time the wedding veil came down over her tear streaked face.

One of the greatest pleasures of being an actor/critic is to see fellow actors completely surprise you by creating a performance that you have never seen them do before. This is so the case with Courtney Sikora, for she is phenomenal in this role.

Well, as you can tell I was very, very impressed with this production Sure, there were some rough edges here and there. But think about this:

This is a community theater that hasn't been around that long and they are already taking a huge artistic & financial risk with this bigger than life pop/rock musical. Instead of doing one of those tiresome old war horse musicals, they go for a recent title in the musical theater archives. I honestly don't know how conservative Cleburne is, but now add another fact that this is an interracial love story. What community theater in today's economic (and possibly social) climate would tackle that?

This was by far NOT a typical community theater production. The attention and detail to the design elements, the casting, the performances, and the direction do not whatsoever fit within the confines of the box labeled "Community Theater". You can see they worked overtime on making this AIDA a real spectacle both in design & emotion - and that they achieved with exquisite results.

They took a major risk with AIDA, and I have to say that they succeeded 100% in my book. Heck, I might even try to go back to catch the show a second time! When's the last time you heard me say that in a review?

Plaza Theatre Company's AIDA is unmistakably one of the most transcendent productions that I have seen this season so far.

GRADE: A-

AIDA runs through April 25. Call 817-202-0600 for reservations.

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