Cockpit-in-Court's "AIDA": Ancient Meets Modern

◊◊◊ 1/2 out of five. 

AIDA on Broadway left me flat – I thought it dull and overwrought, with performances reminiscent of the dueling divas on the American Idol tour.  I find Elton John and Tim Rice's score to be a lot of power songs that never individually (or as a whole) pay off with the emotional resonance they probably think they are getting.  None of the songs are bad, but none are great either.  For example, the song the bookends the piece, "Every Story is a Love Story" is stirring and lyrically nice, but it never takes off or even really builds.  And most of it seems dependent on singers who tear apart a song with volume and vocal tricks (both sure applause getters).  Even the setting, ancient Egypt got short shrift, technically.  Potentially lavish, the original production was surprisingly spare and not too exciting.  Since then, I've seem AIDA at two other venues, and both productions couldn't be further apart.  Cockpit's production, which opened last weekend at CCBC Essex' s Cockpit-in-Court,  leans closerto the Broadway version, which is both a good and not so good thing, mixed with a completely unique take on the material.

The most recent AIDA, is the best show I've seen at this venue in years.  It reminds me of those days when crowds packed the place eager for the new, un-known stuff like The Rink and Baby.  "I've never heard of this before" was a frequent statement made by the crowd lining up to go in the theatre.  At intermission, "That Elton John sure knows music!", "What a beautiful story!" and the like were heard.  It is nice to hear audiences recognize quality when they see it.  And while I don't share their enthusiasm for the show itself, I do agree that this production is good quality.  I'm not that surprised that the quality was there with this AIDA, with Anya Randall Nebel not only that the helm, but in the starring role.  Local theatre enthusiasts probably know her work with Winters Lane Productions – Dreamgirls and Once on This Island, for example.  Those "in the know" have come to expect intense drama, high quality talent and beautifully directed shows.  For the most part, that is what you get here. 

Ms. Nebel clearly knows how to direct a show.  Each scene is carefully blocked and each offers an almost individual story, more like bricks put together to create a pyramid, say, rather than woven together in a lovely tapestry.  Some of this, I am certain, is because Ms. Nebel is saddled with a set rented from Gateway Playhouse in New York, rather than one tailored to her unique vision.  The set features a turntable made up of pieces, allowing more than just a circular shape.  One imagines the effect of those pieces is much more interesting when viewed from above (the theatre at CCBC Essex is one level, with a small house rake, making the stage surface invisible to the audience), but here it offers no impression at all.  Many times it is used to simply change the shape of the floor, but it could be much more effective used to make smoother scene changes and interesting stage pictures.  The rest of the set is made up of large backdrop/pieces, including a lovely twinkling star drop and some interestingly used pieces of parachute.  The effect of those allows the show to look much larger than it is.   

In front of the scenery, Ms. Nebel and company have found varying success.  Much time has been spent on the 2 and 3 character scenes, all of which are tight, focused and emotionally charged.  Perhaps, recognizing that this show works better as a chamber piece, Ms. Nebel wisely put her focus there.  But this is also at the expense of the larger group scenes, which lack imagination and even at times look awkward, with cast members looking at each other for reassurance, followed by a few practiced gestures with little variety.  Apparently these scenes were left to rely upon the power of sheer numbers – 34 members in this company – and volume to replace really thought-provoking images.  This Les Miz-sing-it-loud-and-straight-to-the-audience school of thought is perhaps the most disturbing trend in American musical theatre.  Still, audiences have come to expect it, so why not give 'em what they want?

Choreographer Jason Kimmell has created some rather challenging dance numbers, asking his dancers to emote and be gymnastic at once.  A lot of the moves seem to blend martial arts and hip-hop stylings.  The result is that same modern/ancient feel that pervades this show.  Here, it is highly effective, adding much needed tension to the bad guy scenes ("Fortune Favors the Brave", "Another Pyramid") and grace and power to the emotional scenes ("The Dance of the Robe").  And not a box step or hitch-kick in sight! 

Less effective are the costumes, gathered and coordinated by James J. Fasching.  Here, the modern/ancient mix doesn't work as well, and range from exciting and funny (the fashion show in "My Strongest Suit") to just passable. For example, all of the power and machismo that red implies in dressing Captain Radames is pretty much lost on Randall W. Dunkle, the actor playing the role, who is forced to wear clothes that are ill-fitting and come off more like baggy pajamas than warrior garb.  (This is a problem with every costume he wears.)  And most odd of all is that self-professed fashionista Princess Amneris wears bizarre dresses that look either like homemade prom dresses gone bad or lounge-singer excess.  Only the poor Nubians and Princess Aida herself manage to look like they belong in the play they are in. 

Terri Raulie's lighting, on the other hand, is superb in every way - moody, colorful and unobtrusive.  The design heightens each scene, without ever intruding on the senses.  Clearly, this designer has worked well with her director.  What makes this design so intriguing is the oft forgotten idea that much can be said by NOT lighting things.  Raulie has created several striking images of solitude and even a few sweepingly grand images with a spare, but intensely effective use of silhouette.  

The orchestra, under the baton of Joe Biddle, is the best orchestra I think I have ever heard at Cockpit-in-Court.  Not a single bad note came from the pit, and the balance was fantastic.  Technical director Brad J. Ranno has eliminated all of the sound problems that plagued this venue last season.  Musical director Tiffany Underwood has done a marvelous job with the vocals, particularly in the group scenes and duets. 

Aside from a lack of confidence in how to act in the group scenes (I suspect this will not be an issue as the run continues), the ensemble is quite gifted.  Those who really dance well are featured nicely, and those who struggle a tad do just fine, rising to the challenges expected of them.  And boy, are they good singers together! Tiffany Underwood, in the featured role of Nehebka, has a lovely voice and dances with passion.  Gregory Dorsey's ailing Pharaoh is subtle and well-acted, never melodramatic. 

Platinum haired Brian Jacobs gives us an evil Zoser, an interesting blend of a James Bond villain and Cruella de Vil.  He sings well and is creepily sinister.  Jason Wilson brings much needed warmth, charm and comedy to the role of Mereb.  He knows how to turn a phrase, with a biting delivery that elicits laughs and outrage simultaneously. 

The bottom line is that AIDA is really a three character love story, not unlike Stephen Sondheim's Passion.  For it to be really effective, the casting of these roles must be spot on.  Elton Elizabeth Keith's Amneris is wonderfully sung and she really brings an arc to her characterization.  She is equally at home being the spoiled brat, the sexy vixen, and the warm, caring friend.  She is particularly effective in the reprise of "My Strongest Suit", where she really packs a wallop of emotions into a small scene with her handmaiden, Aida.   

The object of her affection, Captain Radames, is powerfully sung by Randall W. Dunkle, with that perfect Broadway meets Rock n' Roll blend.  He is passionate in his love scenes and even funny in others where he works to avoid seeing his betrothed, Amneris.  Where Mr. Dunkle falters is in scenes where he is being the brave warrior.  Yes, Radames has heart and compassion, but he is also a regarded soldier.  Nothing about Mr. Dunkle's body language suggests the power of this man.  He looks awkward, especially in scenes where he is without a shirt on, and always when he is not given something specific to do with his hands.  I suspect this discomfort comes from the actor himself, and it is unnecessary.  He is naturally gifted and should feel secure from that if nothing else.   

Finally, Ms. Nebel's Aida is excellent – the perfect blend of regal beauty, smarts and leadership.  I wonder how much of that describes the actress/director herself.  She smartly avoids going into histrionics, and never overplays.  She is also a very cerebral performer – her body, eyes and facial expressions do a lot of the work, filling in the blanks that the decent, not great, script has.  Hers is an Aida that demands attention, both from the other characters and from her audience alike.  She and Mr. Dunkle offer the highlight of the evening, "Elaborate Lives."  And their acting in the final scenes is quite moving.  That said, all three actors (and the show, in general), seemed a bit worn down as the final curtain approached.  

With a winning cast, some spectacular lighting and some beautiful music, Cockpit-in-Court's AIDA is a terrific way to spend a warm summer night. 

PHOTOS: Courtesy of Cockpit-in-Court, by Terri Raulie.  TOP to BOTTOM: The Company; Elton Elizabeth Keith (Center) and Ensemble in "My Strongest Suit"; Randall W. Dunkle as Radames; Anya Randall Nebel (Center) and Ensemble in "The Gods Love Nubia".

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