Review: Circle Players' CHILDREN OF EDEN

It would have taken a miracle to save the opening night of Circle Players' Children of Eden - one of the most eagerly anticipated productions of the season in Music City - from the wrath of God: in this case an abysmal sound design that prevented the audience from hearing Lauren Frances Jones' exquisite vocal performance as Eve in the Stephen Schwartz/John Caird musical.

Yet despite technical issues that plagued the show throughout its two-and-a-half-hour performance, one thing remained abundantly obvious: Jones is the consummate professional who never for a moment seemed rattled by her faulty microphone pack and its accompanying issues. Rather, she performed every moment as if her life depended on it, until about three-fourths of the way through Act One when that issue was finally fixed and she showed the audience the vocal pyrotechnics of which she is capable. Make no mistake about it, Lauren Frances Jones is a tremendous talent and no sound design can deny the fact of her skill - that came through loud and clear throughout the show.

But why, for the love of God, did it take so long to rectify the problem?

Jones' microphone issues weren't the only questionable sound problems in Children of Eden, which once again proved that no matter a show's pedigree or the creative team behind a particular production, if this is Nashville, then sound issues will be sure to mar the proceedings and become part of the audience experience. Sound issues, it seems, will continue to be an unfortunate hallmark of Nashville theater.

Josh Waldrep, the director of Circle Player's rendition of Children of Eden, has long imagined and planned for a production of the show on a Nashville stage. And he and his creative team - particularly scenic designer Jim Manning, costume designer Rachel Gallup and lighting designer Daryl Ritchie - have teamed up to create a gorgeous visual aesthetic for the show that features a talented, if uneven (as community theater ensembles often are), cast of stage veterans and newcomers to bring Shwartz and Caird's Biblically-based musical to life at the Z. Alexander Looby Theatre.

Running through April 3, as part of Circle Players' historic 61st season, Children of Eden blends together several storylines from the Bible - beginning with the stories of the creation of the Earth and of Adam and Eve and their subsequent banishment from the Garden of Eden and the hardships they faced in the aftermath, along with the story of Noah, who is commanded by God to build an ark and to take two of every living thing on Earth aboard (along with his wife, sons and their wives) while a vengeful Father lays waste to the world with a massive flood.

Schwartz's music and lyrics are sometimes enlightening and inspiring, at other times pedantic and pedestrian, and Caird's book condenses the Bible stories in such a way to move the plot along its way with an earnest mien that retains much of the stories' moral themes augmented with a heightened sense of theatricality.

Waldrep's vision for the production makes fine use of the Looby stage and his presentation style ensures that each of his performers is given their moment in the sun (or the spotlight, as it were) and he propels the play's action ever-forward. Stephanie Jones-Benton's choreography generally works well in concert with Waldrep's direction and the "big" numbers, such as the naming of the animals and their boarding of the Ark are thoughtfully composed.

Manning's scenic design - transforming the stage into a colorful playing space that's styled to look like a quilt that envelops the theater in a sense of security that is as assuredly heartfelt as a sentimental trip to grandmother's house - is stunning, and Ritchie bathes the set with eye-popping color to underscore the emotional valleys and plateaus of the story. Gallup's costumes work well, helping to delineate the characters and their stories.

The entire production is plagued by the aforementioned sound issues which also included a lack of subtlety throughout the entire show: Some notes were sung with such force and volume that they lacked any sense of nuance.

David Arnold is well-cast as Father, commanding the stage with an easy grace while summoning up the necessary anger and forcefulness to exert his control on the whole of the world. Arnold possesses the requisite stage presence that's essential to maintaining God's overriding sense of omniscience.

The luminous Jones, cast as Eve, is paired with Wesley King, as Adam, and the two create a believable pair: both actors are appealing and engaging, attractive enough to be easily accessible, yet crafty enough to create well-rounded characterizations in the process. Their sons Cain and Abel are played as young men by Steven Griffin and Austin Querns, with Morgan Amond and Cole Alsup playing them as children.

King and Jones fare well on "Grateful Children," lending innocence and wonder to their performance, while Jones' performance of "Children of Eden," accompanied by the company to provide the climax to Act One (and our first opportunity to hear her sing with the microphone malfunction finally repaired), is stunning, startling and heartrending.

Act Two's retelling of the story of Noah and the Ark seems more fluid (no pun intended) and more seamless in its onstage development. Brian Jones is fine as the devout and obedient Noah, showing off a certain fieriness in his interactions with his loyal sons (played by Shane Kopischke and Blake Holliday) and their wives (Amanda Creech and Brittanie Graham) and particularly notable in his scenes with the rebellious Japheth (played with youthful recalcitrance by Gabe Hoyer) and his intended, Yoanah (passionately brought to life by Cassie Donegan), bears the mark of Cain (who ultimately killed his brother Abel) and is banished by God from riding out the storm upon the Ark. However, it's Yonah's self-sacrificing manner that redeems the descendants of Cain hereafter.

Despite the technical issues that abound, Children of Eden overall finds its footing in Act Two, building to an emotional peak that is certain to inspire and delight its audiences. It is also late in Act Two that the spirit of God and a sense of wonder (which, truth be told, seems a mere plot device in the play's early going) at his handiwork fills the theater and the collective heart of its audience, thanks to the score's penultimate number.

LaDarra Jackel grabs the audience by its heart and soul to deliver a rousing rendition of "Ain't It Good?", a country-tinged, gospel-flavored tune that she performs with such power and intensity that you cannot help but be swept up by its fervor. Jackel's performance is staggering and moving: Clearly, she takes on the challenge of Schwartz's music to deliver the song in such a way ensure you'll be remembering for much time to come and that you'll leave the theater with the stories still fresh on your mind.

• Children of God. Music and lyrics by Stephen Schwartz. Book by John Caird. Directed by Joshua Waldrep. Musical direction by Diana K. Poe. Choreographed by Stephanie Jones-Benton. Produced by Chuck Brown. Stage managed by Alexis Lherisson. Orchestra conducted by Dann Childers. Presented by Circle Players at the Z. Alexander Looby Theatre, Nashville. Through April 3. For details, go to www.CirclePlayers.net. Running time: 2 hours, 40 minutes (with one 15-minute intermission).

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