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Lauren from London, England
This show was amazing. My favourite thing was how they used the culture of the Egyptians, Hebrews and Midians in their special ways, especially through the dance styles, folk music and languages! The folk dances are the most memorable parts of the show. The cast is also phenomenal, but the star was Christine Allado, who shined from being the headstrong slave-girl to being Moses' wife. Luke Brady was also amazing as Moses and captured remorse and brotherly love which you might not have expected from this story. Also have to mention the stage design - the use of space was so creative, and the parting of the red sea was, as you might expect, majestic. 10/10 would recommend.
G Baron from Cambridge, England
I read this was a work in progress but it is so nearly there. The performances were brilliant, the use of cast to represent desert or water, was so clever. It does play down the religious aspect and is more about the history of two peoples, which works well. Not sure if we saw the full costumes as opening isn’t officially until later this month. But I will be going back! A measure of how good it was- whole audience standing ovation on a Saturday afternoon. I am a true musicals fan, have seen most current West End shows. This is as good as many I have seen and better than quite a few!
Leanne from Wakefield
AMAZING MUSICAL, BRILLIANT SINGING AND DANCING.
I loved absolutely everything about this musical, so much so that I have seen it twice. Some fantastic performances, great dancing and amazing singing. Christine Allado and Luke Brady had amazing voices, in fact all the main characters had fantastic voices, I couldn’t fault them at all. The story was great and made me both laugh and cry. Yes it is slightly different to the film but not in a bad way ( playing with the big boys is missing but that was my least favourite song in the film so no big loss) . The ending is different but I actually prefer it to the movie ending. The new songs were great, perhaps not as memorable as the original songs but they complemented the story well. I quite enjoyed the fact that they used the dancers as props and I particularly liked the moving stage and the light projections. The crowd has given a standing ovation both times that I have watched this play, the kids are already begging me to book tickets again so may go a third time, absolutely love it.
Dave Hampsey from Basingstoke, England
THIS IS NOT THE MOVIE
As a big fan of the movie, I was excited to see the show and I was not disappointed. The new songs were memorable and there was more of a backstory for the main characters. The main actors were really excellent and the ensemble really added to the production with a lot of singing and dance which was very creative. A big shout out also to Andrew who works at the Dominion who was very patient and helpful with assisting my wife who is in a wheelchair to get to/from the toilets and back both before, during and after the show! We took our 7 year old grand-daughter who was not really familiar with the movie, but who was humming the tunes all the way home in the car! Our favourite performer was Christine Allado who has an amazing voice, but Liam Brady (didn't he use to play for Arsenal?) was right up there also. Our only disappointment was that my wife's favourite song (Playing with the big boys) was not in the show and my favourite song (Through Heavens Eyes) was not as epic as it is in the movie
Candy from London, England
The production was fantastic, best I have ever seen in a theatre to date. The sea scene was phenomenal. However my only personal issue was the posh English accents. All theatre shows I have seen reflect the countries they are based in by their accents. Even if the put accents are not the best but it still helps with creating a great show. Whilst I understand movies on Moses etc were played by British or American actors or game of thrones featured English actors who all used their English accents to portray their characters, I was rather thrown by prince of Egypt characters having posh English accents as I wasn’t used to it in theatre shows when portraying a country. It seemed to take the joy out of it a bit for me. As london is so diverse and by now we are so used to hearing different accents I think the show would have been far better if they spoke using some version of the accent of the country the storyline of the show is based in.
Critical J from London, England
THERE CAN BE MIRACLES WHEN YOU BELIEVE - BUT I DON'T (PART1)
It was the first night of the Previews and, to be fair, Director Steven Schwartz personally warned us before curtain-up that “anything could happen”, anything we did not like was a “mistake” and work would be ongoing to improve the show in the coming weeks. That is good to hear because, although excellent in places, there were a large number of “mistakes”. At no point was I moved to tears – and I am a crier. I certainly cried during the film. This is, after all, a deeply moving story, but, save for the spine tingling crescendo of the epic song “Deliver Us” which tops and tails the first Act, I remained disappointingly unmoved. The chorus/swing are fantastic and a strong presence throughout the show, cleverly deployed as living props and scenery including impressive representations of water, sand and fire, as well as dancers in the conventional sense.
Critical J from London, England
THERE CAN BE MIRACLES WHEN YOU BELIEVE - BUT I DON'T (PART 2)
The choreography is dynamic and well executed, although a little cliché for my taste in one part of the opening number (woman repeatedly stretches and retracts her arms/hands to evoke pleading). The burning bush is particularly effective, but it was far too short for such a pivotal and well-known scene. Like much in this show, this important and transformative moment and its profound effect on Moses, for all its spectacle, lacks emotional depth and falls flat. The “big” numbers - “Deliver Us” and “Heaven’s Eyes” – are, by far and away, the best of the songs (both acoustically moving and visually spectacular), thy are superb. The new songs, “Never in a Million Years”, “Simcha Hagiga” and “By My Side” are welcome additions but others, such as “Footprints in the Sand” (and its reprise) are unnecessary padding which serve no purpose other than ticking a superfluous musical arc cliché box.
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