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🎭 NEW! Tampa Theatre Newsletter
DreamWorks The Prince of Egypt is a stage musical with a book by Phillip LaZebnik and music/lyrics by the great Stephen Schwartz. A retelling of the Book of Exodus, based on the 1998 DreamWorks Animation film of the same name. The story follows Moses on his journey from being the Prince of Egypt, being cast out altogether, and then ultimately fulfilling his true destiny of leading the Children of Israel out of Egypt.
The first staging of this ambitious tale arrived in 2017 following a 2015 workshop. Later in 2020, the West End would see the arrival of its first staging.
St. Petersburg City Theatre, the oldest active Community Theatre Organization in Florida, tackled the ambitious undertaking of staging the DreamWorks musical. Director Nicholas Moore mounts a strong production here, with a few flaws, but for a Directorial Debut of this size, ambition is a great thing to have, and Nicholas Moore excels here in gusto. The functional Set Design by Kari Kennedy lends itself well to the world of the show. Jay Gendron’s Lighting Design couples well with the functional set design and lends an evocative angle to the production, creating the highs and lows throughout the story. Rachel Fennell’s Sound Design presents itself well here. There are some serious issues with the microphones, some not even coming on at all for extended periods of time. Stacie and Stefanie Lehmann’s Costume Design allows each character to express their own unique personalities within the world of the show, and compliment the time period well.
Nicholas steers the ship with a steadfast hand and an even stronger sense of vision. Some of the moments created onstage are downright stunning to experience, and at the hand of Moore’s direction, provide a clear through-line of the plot in the lives of these characters. There were a couple of moments that staging came off not as strong, and whether that be the timing of the choreography or direction, a few moments fell flat in regards to intention. One sequence came to mind in the form of what looked like a ripple effect, where each character emphasized the same movement, but had it all been done in sequence, the effect would have been more grounded and purposeful. Nicholas really knows how to tell a story, and proves he has a keen eye for vision, great work here indeed.
The cast is chock-full of debuts and veteran performers, all coming together to tell this beautiful story.
Zackary Grant as Moses is the glue holding the story together. His vocals are impressive, and he knocks it out of the park several times throughout. What really intrigues me regarding his performance is his dynamic stage presence. Captivating the stage each moment he steps into the scene. He really knows how to tell a story and can take you through the depths of emotions. Really strong work presented here.
Dylan Dames is dynamic in the role of Ramses. His voice is powerful, and exceeds new heights unmatched here. His back and forth with Moses is fun to watch, and his presence solidifies the true amount of talent he brings to the stage every night.
Rachael McCann brings her all to the stage as Yocheved. Her beautiful presence on stage amplifys the strength of her plight and she has powerful connection, and storytelling moments in her voice.
David Gallagher does well as Hotep and is a great addition to the company. Holding his own vocally and equally being present in every moment he is onstage.
Courtney Cooper as Tzipporah helps to set up the Midianite storyline exceptionally well. Showing exceptional strength in her scene work, she excels here.
Krystle Pitts is captivating as Nefertari, both vocally and in stage presence. Her moments with Moses are truly beautiful to watch, and her duet with him is one of my favorite moments of the night.
Kennedy Perri (Leah) and Bella Bonner (Young Miriam) absolutely steal the thunder in their moments onstage. Beautiful work by these two young performers and some of the loudest audience reactions all night.
Angelina Samreny adds another layer to the story as Queen Tuya. Her moments with Ramses and the Pharaoh are exceptional.
Bill Shideler provides great strength as Seti. His power is unmatched in his scenes and the work presented opposite Ramses is matched measure for measure.
Stephon Mikell Jr., as Aaron, continues to light up the stage no matter the role he portrays. His vocals are beautifully presented here, and his presence and exuberance onstage lights up the scenes. He’s not afraid to swing for the fences in certain moments, and the range of characters he is able to play is apparent even here.
Rounding out the impressive cast is the large ensemble accompanying the principals. The company includes Janet Endo, Geraldo Atiles-Reyes, Mary Blazier, Rebecca Buete, Rei Capote, Caron Davis, Jessica Deggans, Cameron Feldman, Henry Gadot, Jose Gonzales, Gabriella Hills, Kat Kirchman, Taylor Landau, Samantha Lee, Christian McCormick- McNeil, Merry Milton, Xavier Molina, Miranda Reyes, Corey Shortt, Dustin Trafton, Alex Watkins (Jethro), Veronica White (Miriam), Vaughn Wassmer, and Xciana Vega. Each performer lends both their vocals, and unique presentation of their respective character to the world of the show, and helping not only further develop a more rounded picture, but helping to progress the storyline even further.
Choreography by Patrizia Planzo is well defined in moments, and somewhat messy the next. The ideas are there, but the execution is not always its strongest. Some moments fell flat in areas of strength in storytelling (going back to the aforementioned ripple moment). Other times it came across as a few strong performers and then everyone looking to the left or right to see if the moves were correct. Falling in and out of sync made for a loosey-goosey type nature to the piece. I am all about connection to the piece from one moment to the next, and if some people are grounded and others are lost, there is a supreme disconnect happening, which unfortunately, at times pulled me out of the moment. Kudos goes to Ensemble member Xavier Molina for excelling in all areas of Choreography. I was captivated by the intention behind his every move and the commitment to telling the story through the dance numbers, truly incredible work.
Dawne Eubanks (Music Director), got the most out of her performers, with some serious vocal talent in the company. There were times where blending was an issue, but overall superb work indeed.
DreamWorks Prince of Egypt is an ambitious undertaking, mounted by an even more ambitious Director. A Director with a keen eye for storytelling and a clearly presented vision. Tickets to the beautiful epic tale of self-discovery and power can be found by visiting www.spcitytheatre.org, only onstage through April 5, 2026. A rarely done musical gem, in the hands of an incredibly capable and strong young Director. Embrace change, take the journey and get lost in this unforgettable tale, you’ll be glad you did.
Photo Credit: ST PETE CITY THEATRE
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