Feature: Representation on beautiful display in AIDA at Constellation Theatre

BWW Feature: AIDA at Constellation Theatre

URGENCY: PLAYS IN THE NOW

AIDA at Constellation Theatre

For their first non-film based musical, in 1998, Disney premiered AIDA, a Broadway show on an operatic scale with a story of forbidden, interracial love against the background of ancient, warring countries. With music by Elton John and Tim Rice, it teamed the rock vocals of Adam Pascal (a newly minted star after RENT) with the theatre belt of Sherrie Renee Scott and the stunning vocal pyrotechnics and intensity of Heather Headley. So it came as a bit of a shock to find that Constellation Theatre was attempting this work in the intimate black box at Source. It was perhaps more shocking to find how successful that experiment is in action.

Choreographer Tony Thomas II says, "I've been associated with [director] Michael Bobbitt for the past 7 years and when I first started working with him in 2014, he mentioned wanting to do AIDA! Here we are 4 years later working together on the show." In fact, when Bobbitt was approached by Constellation to pitch shows he was interested in collaborating on, he presented his thoughts on AIDA. "I thought would work well for them, given their mission and oddly, the size of the space," says Bobbitt. "The music is infectious. And, mostly, I was excited about finding a way in that worked for where I am in my life, but also delivering a large scale pop theatre piece in a small space. The challenge was intoxicating."

Bobbitt, Thomas, and their creative team attacked all these challenges head on, to delightful effect. AJ Guban has created a playing space full of light and angles, a clear nod to the pyramids of Egypt against which the story is played, but without hitting that nail too hard on the head. Exceptional costumes by Kenann M. Quander make the glamour of the court crystal clear with detailed beaded and gem stoned collars over beautifully draped fabrics, yet nothing is literal or expected. The golden masks in particular are show stoppers. In the close confines of Source, this attention to detail sells the world of the play. Bobbitt reminds us, "The scale of the songs are no bigger than those you would hear in a show like Once On This Island, which works really well in a small space. So, why not do it in a small space?"

Of course, the entire show hinges on the opposites attract love story of Aida, the Nubian princess, who is captured by Radames, an Egyptian military leader. Despite an engagement to the Egyptian princess, Amnaris, Radames is intrigued by Aida's outspoken and bold nature, eventually falling in love with her and her for him. Bobbitt reminds us that, "Star-crossed lovers is a story that has always been around and will always be around." Jobari Parker-Namdar is charming and appropriately brash as Radames. While he doesn't quite have Pascal's high rock belt notes, it seems the key has been adjusted just enough for him to take ownership of the part and seize it for his own. But the run away star is Shayla S. Simmons in the title role. She walks on stage with a core of steel, ever the unbreakable princess, only to completely overshadow her own acting with the power of her singing voice. It would also be neglectful to overlook Chani Wereley delightful ditz as Amneris and frequent scene stealer, Da'Von Moody, as Radames right hand and Aida's friend, Mereb, who provides humor and a warm center where the lead characters can go.

While it didn't cause too much turmoil in the 90's, the Broadway production cast white actors as the Egyptians and Black actors as the Nubians. In today's climate, it would be a crime to cast the show in this manner. Beyond simply giving artists of color a place to showcase their abilities, Bobbitt pointed out that, "For many of them, they have been singing these styles all their lives. And they brought cultural authenticity to the roles of the characters that are all from the continent of Africa." Thomas echoes that sentiment as he relayed a story about the dance rehearsals for "Dance of the Robe", in which Aida is implored to take on the leadership of her imprisoned people. "A part of the movement requires them to dig into the ground with their hands and pull into their bodies and souls, the dirt from which their ancestors are buried," says Thomas. "The first time I yelled that out as they were in the midst of the movement, something changed in the dynamic and projection of the choreography. Then, they knew where to find the root of the dance..."

Everyone involved in the production committed to the use of performers of color. "Theatre in this country is becoming very color conscious and this production, lovingly nurtured by Constellation Theatre is a strong showcase of what being color-conscious can do," Bobbitt shares. Societally, America is in a place where women and women of color are also stepping up and raising their voices, as Aida does in defense of her father and her people, and even against Radames, the man she loves, when she sees that he is being selfish or foolish. "We are amid an incredible movement where by women, especially young women, are speaking up and speaking out and calling men to task for their behaviors and beliefs." Bobbitt continues, saying, "One of the reasons why I think this piece will be around for a while is that it will almost always find a connection to what may be happening in the current state of the world - women's voices, the celebration of culture, the children and their relationship to parents, discrimination, war, etc."

In a time where theatre and society are beginning to acknowledge the importance of representation in art and entertainment, Bobbitt says, "For me, I want people to see the talents of this company (actors, musicians, directors, designers) who are people of color shine is a way that is incredible." Thomas adds that, "This production gradually became more about awareness for me. With all that the world is carrying in our present times, this show constantly made me wonder...what if? ... Cultural differences are what the world is made of, yet from an ancient story until present times, there is still no difference. In the midst of the world's chaos, there are journeys that people live and die through, just like this one." Bobbitt further shares that, "my own personal hope is that the community, with urgency, will run to the website and buy tickets, to support the people involved in this amazing production."

Photos by DJ Corey Photography

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