Review: Aida

No, not the Verdi opera. This Aida is a pop-musical collaboration between the highly successful duo Tim Rice and Elton John. Like the opera, however, this is an enduring saga of devotion, treachery, loyalty and loss.

Recounting the story of the forbidden love between Aida (a Nubian princess enslaved in Egypt) and the Egyptian soldier Radames, the action travels from the present day back to the ancient era.

Complicating the story, Radames is engaged to the Egyptian princess Amneris, who is also Aida’s mistress. Further drama is added by way of political intrigue and betrayal.

For an opening night, audience numbers were disappointing but those there were enthusiastic and engrossed in the drama and humour.

The strength of this production lies in the vocal performances of the lead actors, and the skilled orchestral support (kudos to Musical Director Peter Hayward). Elton John’s music makes great demands of the vocalists but they were up to the challenge. Indeed they would not be out of place in a professional production, most notably the astounding voices of Jessica Mann (Aida) and Kathleen O’ Neill (Amneris). A strong performance by Mal Christian as the torn Radames completes the love triangle.

Riverside Lyric Ensemble obviously has a strong base of voices for supporting roles and ensemble. Choreography and its execution were inconsistent but fortunately the power of the vocal performances was usually able to keep one’s attention on the main action.

One forgives certain things of an amateur company, especially when tackling such a complex and challenging production. However, a number of minor points sometimes pulled attention from the action- ambitious staging changes, unnecessarily distracting properties (a doll looks like a doll, no matter how you wrap it) and the contradictory use of some mimed and real props.

Overall, however, staging and lighting design were simple and effective. I am curious to see what a professional company with the luxury of a larger budget would do.

On a minor but relevant point, noise emanating from somewhere — backstage or front of house perhaps — during quieter and usually poignant moments, was disturbing.

The story ends where in began, in modern times. This twist on the opera version allows for an ultimately hopeful ending that is far more in keeping with the pop musical format, and leaves the audience feeling optimistic and satisfied.