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The
Paper Mill Playhouse celebrates its 60th anniversary with "Children
of Eden," a joyous blend of fable and biblical allegory. Author
John Caird and composer Stephen Schwartz have adapted the first nine chapters
of Genesis into an enchanting family entertainment of splendor and sweep.
Boasting a sprawling cast of 60 performers, "Children of Eden"
weaves a score of varied musical motifs with colorful imagery and vivid
visual special effects.
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A rich
choral opening introduces Father (William Solo), the God figure,
who summons light, vegetation and human life in "Let There Be."
Adam (Adrian Zmed) and Eve (Stephanie Mills) enter the sumptuous
estate of Eden under the bountiful and glittering tree of knowledge. The
show's playful humor emerges as Eve eats of the forbidden fruit, and offers
Adam a dinner of turnovers, strudel and cider, coyly avoiding divulging
the ingredients.
The rebellious son Cain, acted and sung with sturdy vigor by Darius
de Haas, wanders into the forest to discover prehistoric ruins. Towering
stone monuments with heads of beaked birds slide into an awesome circle.
The adventurous Cain, seeking a world east of Eden, defies the wrathful
Father, slays his brother, Abel (Hunter Foster), and is banished
as a fugitive.
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"Generations,"
a rousing second-act choral opener set to African rhythms, covers the "begats."
There is also a sweet romance between Noah's son Japeth (de Haas)
and the outcast servant girl Yonah (Kelli Rabke) whom he has smuggled
aboard the Ark. They join in a beautiful pledge of love called "In
Whatever Time We Have." When land is sighted, Mills scores with a rousing,
gospel-flavored "Ain't It Good." All the performances are fine.
Zmed sings and acts with robust and appealing authority as both the eager
and youthful Adam, and the wise, mature Noah. Mills brings nice contrast
to the impetuous, girlish Eve and as Noah's comforting wife. Solo invests
the Creator with warmth and dignity. De Haas is a standout in the dual
roles of Cain and Japeth, and Rabke's wistful "Sailor of the Skies,"
is a plaintive musical statement. |
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This
is the most ambitious and impressive score to date by Schwartz, and it is
spiced with a variety of jubilant tunes, haunting melodies and sensitive
lyrics. The composer began his collaboration with Caird on this project
seven years ago in London, honing and pruning until they felt it was ready.
Restructured and revised in regional theater productions, it certainly appears
to be ready, and its future seems assured. |
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