All are tales of human failing
All are tales of love at heart
This couplet from the opening song “Every Story is a Love Story” from Elton John and Tim Rice’s Aida sets the stage for one of art’s most epic affairs. While the plot is adjusted slightly from the original opera by Verdi, much of the melodrama and spectacle remain in the musical.
After the beautiful prologue number, we are transported to Ancient Egypt where the ill-fated lovers cross paths for the first time as Aida is brought in with a group of Nubian’s captured by Radames’s army. Radames is instantly captivated by Aida (along with everyone onstage and in the audience). This lands her a cushy job as aid to Princess Amneris who, incidentally, is betrothed to Radames. This also brings Aida into contact with Radames’s servant Mareb who recognizes her instantly as the daughter of his King in Nubia. She begs him to keep her secret claiming that now, for both of them, their lives are not their own. Aida continues to wrestle with her growing connection and passionate attraction to Radames and the pull of her people begging her to lead them. In the end, Aida makes the decision to betray her love in order to save her father and, hopefully, the Nubian people. They are, of course, found out and the story ends the only way a tragic tale of love and war can. The lovers are reunited only to die in each other’s arms. Though, this is not an opera, it is a musical (and a Disney one at that) so Radames makes good on his pledge that they will search a hundred lifetimes to find each other again.
A story of this scope and scale can only work if it is executed to perfection and Director/Choreographer Troy Wageman along with his genuinely stellar cast have accomplished this. Tanesha Ross as the titular princess Aida is the true revelation of this production. From the moment she enters, it is clear she is royalty long before the plot reveals it. Ross has an innate dignity and pride that seems to come from her pores. She also navigates the massive score with ease. Her voice is always beautiful and clear while still conveying deep pain and struggle. Each run and musical decision is motivated by character and emotion. Opposite Ross is Matthew Lang as the conflicted general Rademes. Lang conquers the incredibly challenging vocals with confidence and power. He also has the burden of the major character arc of the piece going from cocky privilege and extreme wanderlust to one willing to give up everything to be connected to one person and place. Rounding out this love triangle is Amneris played by the bombshell powerhouse that is Alyssa Maas. She oozes with a sexy confidence but this does not cover up the deeper layers of vulnerability and insecurity that plague this soon to be ruler.
Filling out the cast is Zoser the Chief Minister of Egypt and father of Radames played to mustache twirling villainous excellence by Timothy Glynn and DeSean Halley as the calculating and power ballad crushing Mareb.
While many a production of Aida both the opera and the musical boast huge choruses, elaborate sets and extravagant costumes with some clever theater magic and trickery, the whole production comes across as lavish and grand. The chorus, though small is truly mighty and engaging. The costumes designed by Sadiqua Crutcher are gorgeous and lush. The band, under the direction of Brandon Peck is excellent and expertly walks the line between the rock and musical theater sound.
Aida will be playing at Seattle Musical Theater through February 24th. More information and tickets can be found at seattlemusicaltheatre.org