Jan Machado, Contributor
DESPITE ITS many theatrical awards, Jamaica Junior Theatre was surely ambitious in staging Aïda of Nubia, a musical adaptation of the story first penned over a century ago by the French Egyptologist, Mariette Bay, and used for the famous Verdi opera. More recently, the celebrated Elton John/Tim Rice tandem adapted the story to create a Broadway musical which has run to packed houses since 1999.
Now, Aïda of Nubia is a further adaptation by Jamaica Junior Theatre with a musical score containing some of the material from both previous productions, together with many other songs and dances. It may have seemed ambitious, but it is proving remarkably successful and receives nightly ovations from enthusiastic audiences. This is no small feat for this cast of 50, half of whom are appearing on stage for the first time.
COSTUMES
The success stems from a number of factors. Carolyn Chin Yee's colourful costumes are beautifully designed and crafted, especially for the roles of the Pharaoh and Princess Amneris, both with elaborate head gear. She has also succeeded in adding colour and flair to the garb of the Nubian slaves. While the set designed by Peter Haley is not extensive, it is functional and effective. It stands out well against an attractive backdrop painted by Marian Thwaites.
The dance members, ably led by Lisanne Gage and Gabrielle Miller, are dynamic in the many varied dance sequences choreographed by Tony Wilson, and even the youngest members, Justine Lewis and Lia Chin Yee, hold their own well. Jon Williams' backgrounds captured the changing moods of the Elton John selections and the music includes two fiery examples of researched ancient Egyptian dance music. I was very taken by the language of the script and its many subtleties, well absorbed by the principals and resulting in clear diction.
However, the success of this exciting but tragic love story stands or falls on the performance level of the principal characters, and two of these are of stellar quality. In the title role, Stephanie Hazle looks every inch a Nubian princess. Her powerful mezzo-soprano voice with its high range suits her several songs and duets admirably, and her acting in both confrontation and love scenes was a revelation. She must share top billing, however, with Elizabeth Goffe, whose outstanding acting and clear diction make the kind and gentle character of Princess Amneris totally believable. Miss Goffe then tops it all off with a vibrant and demanding closing solo.
WOMEN OUTSHINE MEN
Generally speaking, the women come off a little better than the men in this production, but it was good to hear Orrin Scott-Stewart singing so well as General Radames, and he gave a good account of himself in this challenging role. His duet with Aïda, 'Enchantment Passing Through', was particularly impressive. Commendable performances also came from David Tulloch as an imposing Pharaoh, the villainous Omari played strongly by Adrian Hubbard, and newcomer Sean Baugh as Zebelun with his mellifluous baritone that holds much promise for the future. Tanya Thompson was endearing as Makeba and her appealing soprano voice will gather strength the more she sings. The chorus members came over well in 'In Our Anguish' and in the sparkling 'Dance of the Robe', but for me the crowning moment of the whole show was the magnificent 'The Gods Love Nubia' chorus with soloists Aida and Makeba. It brought the house down as, apparently, it does every night.
The show is tighter than some in the past, yet I still have to wonder if any of those blackouts could not be shortened despite the appropriate incidental music. Otherwise, the main production team of director Peter Haley, musical director and script writer Doug Bennett, choreographer Tony Wilson and costume designer Carolyn Chin Yee must be happy to have such a hit musical on their hands.
Aïda of Nubia is an exhibition of extraordinary young talent not to be missed, and continues at the Philip Sherlock Centre until February 26.
