Every story is a love story. That’s the message being preached by Artistic Synergy of Baltimore’s (established 2012) production of AIDA which opened on a rainy night in Rosedale, MD. Based on the Italian language opera of the same name, Disney purchased the book rights in 1994 to turn it into an animated feature film. However, it was instead reborn as a Broadway musical with music by Sir Elton John and lyrics by Tim Rice. AIDA opened on March 23, 2000 and ran for 1,852 performances before closing on September 5, 2004. It was nominated for 5 Tony Awards and won 4 including best original score. And here’s a tidbit for ya…one of the show’s songs, “Written In The Stars”, was recorded by Sir Elton John and LeAnn rimes and reached #2 in the Billboard US adult contemporary music chart.
The show tells the story of the Egyptian Captain Radames who is betrothed to Pharoah’s daughter Amneris. Radames falls in love with captured Nubian princess Aida while Egypt and Nubia are at war. The love triangle that develops is set against a backdrop of greed, power, vanity, and slavery. Such is the power of this show that one walks away feeling sad yet inspired. Mesmerized yet contemplative. This juxtaposition of feeling comes from a well-acted story woven with musical numbers that causes the audience to pause and reflect.
Director Melissa Broy Fortson has loved the show for a long time and is thrilled to finally be able to bring it to the stage. One can almost hear the excitement in her voice as the talks about the show, and her Director’s Note in the program showcases not only her love for the show from when she first saw it in 2001 but speaks to Fortson’s indescribable blessing at being able to have worked with such stellar community theatre talent. She has indeed cast the show with some of that wonderful homegrown talent and crafted it into something that would make her “back-in-2001-self” proud. If she only had known that some 22 years later she would be directing the show that captivated her back then.
Music Director Tina James did a fine job with the plethora of voices in the show, coaxing well executed harmonies in some of the duet numbers and showcasing the best of the cast’s vocal abilities during both solo and ensemble numbers. Working with canned music (i.e. not a live orchestra) can be a bit of a challenge, but it worked well and the cast sounded amazingly clear and polished.
Choreographer Kristin Rigsby came up with some fancy dance moves which filled in the dance breaks quite well. One number especially “Like Father Like Son” called for canes/sticks to be used during the number and stands out in my memory. The choreography was fluid and well executed and blended perfectly with the songs.
While Radames and Aida may lead elaborate lives, the set and costumes are not so much…and it works. Broy Fortson, along with Sarah Figiel, have put together a simple set which consists notably of a backdrop depicting the Egyptian desert (with a couple Pyramids tossed in) and some white sheer curtains that go up and down at various time throughout the show. Sometimes less is more, and this allows the audience to focus more on the action on stage with some set pieces and effects throughout to accent the scenes. Costumes were simple as well yet effective. Sound was also surprisingly good for the venue, and this reviewer was able to hear the lyrics without being drowned out by the music (a pet peeve). Lighting was OK for the most part, although some of the spotlights appeared poorly timed and not well executed.
Speaking of elaborate lives, the two main protagonists in the show stood their own…and then some. The smitten Radames, played by Paul Kennedy, was played with heart and soul. And oh, his voice. Kennedy has a voice that is smooth as caramel yet capable of belts and falsetto when needed. What a pleasure it was to sit back and watch him sing song after song while effectively capturing the spirit of the Captain, torn between his love of country and his love of the Nubian slave who has captured his heart.
Speaking of Nubian slave, Aida herself is played by Temple Fortson. Fortson is a force to be behold, with not only a commanding will but with a vocal range that would make Heather Headley (the original Aida on Broadway) blush. This woman can sing, and her voice not only reverberates around the theatre but within your soul as it touches the senses in such a way that you can’t help but feel for her character, plucked from freedom one minute and enslaved the next. Aida is, after all, a princess (a fact not known immediately by Radames). No plot spoilers here, but Fortson’s interpretation of this princess is complex and striking as she channels her innermost depth of feeling to project a woman torn between her love of country and of love of this Egyptian Captain who has stolen her heart as well. This conflict is a pivotal point of not only Aida’s character, but of the show itself. Aida is, after all, a slave. The fact that she’s a princess (the King of Nubia’s daughter) only serves to heighten the importance of the plot. Can she blindly accept this newfound love with the man who has captured and enslaved her people? Can she turn her back on her fellow Nubians who look to her for guidance and support? Is it possible to love someone who has done you and your countrymen an abominable disservice and wonder if he truly is a changed man or merely an instrument of the government? Fortson plays this well, and the audience feels the conflict strongly.
Let’s talk about conflict…and angst…and superficiality for a moment. Let’s not forget about Amneris, played by Megan Safko, the Egyptian princess betrothed to Radames. We learn that they have known each other since childhood (her father, Pharoah, knew Radames’ father) and their wedding is coming up. But Amneris can’t catch a break as Radames has grown distant because he’s in love with another woman. Safko opens and closes the show with a pretty voice and does a good job with the character, a princess who, while in love with her man, has a “material girl” side to her (“My Strongest Suit”). Yet she is not without mercy or compassion as we eventually learn, as hard as it is for her to accept the reality that she’s lost the man she loves.
Randi Seepersad plays Nehebka, the Nubian spokesperson who serves as a conduit between Aida and her people. She portrays the role with sincerity and grace while Michael Safko, who plays the ill-fated Pharoah, coughs his way through the role as part of the sinister plot against him unfolds.
Zoser, Ramades’ father, is the villain of the show and is played with convincing evilness by Robert Lopez. Lopez masterfully sings his way through the haunting “Another Pyramid” (showcasing his greed and desire for power) and the tug-of-war duet with his son, “Like Father Like Son”. Zoser would do anything to see his son rise to power because he would indirectly benefit. Much to his chagrin, however, son is not so much like father and this creates some well-played drama. Lopez’s Zoser is like Aladdin’s Jafar and Lady Macbeth cloaked in an air of respectability. But appearances are deceiving. Beware this man. He is not what he appears despite his position on society and his powerful singing voice.
Broadus Nesbitt III portrays the captured Nubian King Amonasro. While his appearance is brief, it is powerful. With commanding presence he orders his daughter Aida to “cut this man from your heart”. We’ve seen this combination in other shows: The overbearing father and the strong-willed lovestruck daughter. As Amonasro, Nesbitt questions whether Ramades is really penitent for his warring actions against Nubia and the capture and killing of his people. Like King Triton in Disney’s “The Little Mermaid”, he points out the atrocities of Ramades and the Egyptians to Aida and warns her to sever ties and return to Nubia with him during an escape plot hatched by Ramades’ Nubian servant Mereb. There is truth to his words, and one can definitely empathize with his point of view. After all, the Egyptians are fighting with his country and enslaving/killing his countrymen. Can one love their captor? Should one love their captor? Is loving one of the very people who killed and enslaved your countrymen traitorous or is it possible for a person to change and for love to be the ultimate conqueror? That is a decision only Aida can make.
Saving the best (or one of the best) for last, the afore mentioned Nubian servant Mereb is played by Terrell Chambers. To say that this reviewer was impressed with this young man’s performance would be an understatement. To say that this reviewer was gobsmacked by his voice would not do justice to the feeling when he took the stage. For someone so young, he had me from his opening song “How I Know You”. Whether his vocal talent is natural or has been honed with voice lessons, his instrument is powerful and moving. You could pick his voice out from any of the numbers of which he was a part. Strong, rich and soul moving. And oh my, his acting. Not only does Chambers know his character but plays him with such conviction that it’s impossible not to feel for Mereb’s plight. While a slave/servant to Ramades, one quickly learns that he is proudly Nubian through and through, and dedicated to his people, biding his time until he can eventually return to his homeland. Like Amonasro, Mereb sees no good in the relationship between his princess and his master. He tries to make Aida see the situation for what it is and, ultimately, is unsuccessful. His pensive and sorrowful reprise “I Thought I Knew You” gets you in the feels and, if you’re not moved during his last scene in the show, you’re the kind of person that laughed when Bambi found out the fate of his mother. Chambers needs to do more theatre. He deserves to be seen and heard because we will be the richer for bearing witness to his tremendous talent in the performing arts.
Rounding out the show was a cast of talented folks who played a variety of parts from museum statues and visitors to guards to slaves and more. The ensemble provided required backup vocals to some of the songs as well as some space filling dance numbers. Each of them deserves to be applauded and stands out in their own right.
Come check out the love story of the ages and give these hard working and talented folks some support. It is obvious they put a lot of time and effort into this production, and it is the epitome of what community theatre is all about. Bringing together people who share a love of theatre and putting on a musical showcasing their talents whether it be on stage or behind the scenes. AIDA will not disappoint and will leave you with a keen understanding of why the gods love Nubia. I guarantee it. After all, it is written in the stars.
Running Time: Approximately 2 hours and 30 minutes with one intermission
Aida plays through May 7th 2023 with Artistic Synergy of Baltimore at Prince of Peace Lutheran Church— 8212 Philadelphia Road in Rosedale, MD. Tickets are available at the door or in advance online.
