author: Chris Pence
When You Believe: The Prince of Egypt at Artistic Synergy of Baltimore
Anyone who has ever set foot in a church knows the story: a mother fearing for her firstborn’s safety sets the baby in a basket to flow down the Nile toward Egypt, and towards his fate. The baby grows into the most influential prophet of Judaism, as well as one of the most important in Christianity, Moses. The centuries-old story of determination and destiny blazes onto the stage at Artistic Synergy of Baltimore as Stephen Schwartz’s The Prince of Egypt. In an ASoB production unlike any other, this production shines like a Burning Bush in a dark desert. Holy Moses, what a performance!
Based on the Book of Exodus, as well at the 1998 DreamWorks Animation film of the same name, The Prince of Egypt tells the story of Moses, from his neonatal cruise down the roaring Nile River, to his divine calling to lead the enslaved Hebrews out of Egypt. Adopted by Egyptian royalty, Moses must find his purpose, weighing his divine calling against his devotion to his adopted brother Ramses, future pharaoh of Egypt. With the help of his true people, Moses leads a journey of Biblical proportions to free his people from royal tyranny and lead them into the truth. With music and lyrics by Stephen Schwartz and book by Philip LaZebnik, The Prince of Egypt first came to the stage in 2017 in California, before heading to London’s West End in 2020. Originally conceived in 1994, the 1998 film received two Academy Award nominations for Best Original Musical or Comedy Score and Best Original Song, winning the latter for “When You Believe.”
Director Michael Safko leads this incredible cast through Moses’ story as though they were there for the actual exodus themselves. Safko orients the production as a comparison between Moses and the Hebrews versus Ramses and the Egyptians. The production begins with just a few simple blocks, painted to look like marble, representing walls, a well, and pyramid blocks. This creates an emptiness that envelopes the Hebrews as they painstakingly build the monuments of their oppressors. During Passover, the cast uses just a few rolls of red ribbon to represent the bloodstained doors of the Hebrews, drawing the eye directly to the families who knew how to protect their homes from tenth plague. In contrast, The Egyptian royal temple is anything but empty, shown with a vast, beautiful three-dimensional backdrop of an Egyptian temple that feels like the audience can walk right into New Kingdom Egypt. Set upstage right is the golden throne of Pharaoh Seti, a large golden chair that, fittingly, the stage crew seems to struggle to move during some scene changes due to its size. The parting of the Red Sea at the show’s climax was a little underwhelming, with a few sheets draped in blue to represent the chosen path, but the actors’ delivery and emotions more than made up for it. Stage Manager Brooke Jacobs holds down the fort well, with swift, clean scene transitions. Be sure to keep an eye out for the chariot race, with stagehands flapping Moses’ and Ramses’ capes to show the speed and wind of the race.
Assistant Director Megan Safko also serves as Prop Mistress, Costume Designer, and Lighting Designer. With a lighting system new to the ASoB stage, Safko’s lighting adds depth and meaning to some more complicated scenes, with deep blue lights to show the River Nile, and harsh red to show Moses turning the Nile to blood during the first plague. A spotlight on Moses during some of his more contemplative and self-embattled scenes creates an otherworldly shadow, as though he were debating against his soul the path he must travel. Costume-wise, Safko creates a division as wide as the Red Sea (see what I did there?), with Egyptian royalty decked out in flashy, elaborate garb, while the Hebrews and commoners are clad in desert tans and earthly tones, genuinely a people of the land.
As Music Director, Robert Lopez has arguably the hardest job in community theatre. That being said, Lopez makes it look easy. The cast manages the score exquisitely, gliding through the harmonies and solos as though they were written for this cast. The Hebrews’ various prayers feel and sound authentic, unlike many productions, which struggle to pronounce or understand their significance. Lopez clearly does his homework, and ensures that the cast does as well.
Choreographer Maia Bedford also has done her research, adopting Old World dances to bring realism to the Hebrews’ celebrations. As Moses is welcomed into the Midianites’ tribe, the actors share a dance of warmth and welcome with “Through Heaven’s Eyes.” Early in the number, Joseph struggles to follow the cast, until High Priest Jethro shows him the steps, accepting him into the tribe. Later, when the Hebrews believe that they have been emancipated from Egyptian slavery, they shout “Simcha!,” dancing in concentric circles holding hands, looking like a holiday right out of Jewish tradition. Featured Dancer and ensemble member Isabella Karwacki becomes Bedford’s most impressive asset in the production, leaving the audience breathless as she dances through the scenes representing the Nile River, the desert winds leading Moses to Midianites, and the various plagues of Egypt.
Ushering the cast into Old Testament are brothers Moses (Rondez Green) and Ramses (Bryan Brown). As teen brothers competing for their father’s attention, Green and Brown feel joined at the hip. His father’s favorite, Brown’s Ramses (aka Ramesses II, or Ramesses the Great) presents as the typical jock, trying to follow in his father’s footsteps to become the new ruler of Egypt. Standing taller than most of the cast, Brown’s height helps to create the metaphorical image that Ramses would become more powerful than both his father, Seti, and Egyptian High Priest Hotep. As his power grows, Ramses loses touch with the people, mirroring his father’s cruelty, and proving that “absolute power corrupts absolutely.” Brown’s cautious hesitance as Ramses gives the character sympathy even in his darkest moments, setting the stage wonderfully for a last second change of heart. As Moses. Green doesn’t feel like the unquestionable prophet of Charlton Heston fame, but a young, uncertain man who embraces his heavenly purpose despite his own apprehensions. Green gives Moses intellectual and emotional complexity, as well as a relatability rarely seen in Biblical performances. When Moses accidentally kills an Egyptian guard, Green and Brown share a stirring, bittersweet ode to their brotherhood in “Make It Right,” signaling the last time the brothers would meet before accepting their separate paths.
Ruling with an iron fist, the Pharoah Seti (Benjamin Isaiah Black) is dedicated to Egypt first, and family second. Black’s portrayal of the pharaoh-turned-irritated-dad is fearsome yet caring. After Ramses takes the throne, the spirit Seti returns to Ramses frequently, reminding him of his duties to Egypt, as well as his family. ASoB matriarch Melissa Broy Fortson joins the cast as Queen Tuya, bringing poignancy to the story as Moses’ and Ramses’ concerned mother and Seti’s wife. Bound by law, Tuya knows that some things cannot be, according to Egyptian traditions, but encourages her sons to break the mold anyway, giving unconditional love for her boys as they make their impact on history.
Music Director Robert Lopez also takes on the role of Jethro, High Priest of the Midianites. With warm, welcoming vocals, Lopez and the ensemble bringing Moses to his true people with “Through Heaven’s Eyes.” Lopez’s Jethro is a man of the people, contrasting sharply with Seti, a man of the law.
Egyptian High Priest Hotep (Broadus Nesbitt III) is the real villain of the story. Representing the brutal ways of the Old World, Hotep is beholden only to Egyptian traditions and laws, refuting anything that would question them, even his new god king, Ramses. Nesbitt is unflinching, the kind of villain one can’t help but want to see drowning in the sea of his own hypocrisy.
Also beholden to the traditional politics of Egypt is Nefertari (Stephanie Zambrano), Ramses’ betrothed wife. Aloof and purely political, Zambrano rips the audience’s hearts out late in the show with “Heartless,” a tearful goodbye to Ramses’ and Nefertari’s son following Passover. Her mournful vocals belie her political ambitions, with Nefertari finally realizing her mistakes in forsaking her family in favor of power. Moses’ wife, Tzipporah, portrayed by Angela Cava, is the polar opposite of Nefertari. Entering into Moses’ life as a Midianite slave intended for Ramses, Tzipporah is a strong, determined woman ready to fight for her freedom. Her introduction, “Dance to the Day,” stands as a sexy, powerful message that she won’t give up.
Searching for Tzipporah following her effortless escape from the Egyptians, Moses runs into Miriam (Kara Kaskel) and Aaron (BJ Robertson), his real siblings. Kaskel and Robertson help Moses to accept the reality of his adoption by the Egyptians, bringing him closer to finding himself. As Miriam and Tzipporah, Kaskel and Cava lead the cast in the signature song of the production, “When You Believe,” a song of joy and freedom as the Hebrews escape the Egyptians and begin their exodus in the desert. The number is enough to bring any penitent to their knees, with phenomenal ensemble vocals that could awaken the Holy Spirit in any heart.
It’s not often that an ensemble is able to steal the show from the leads, yet this production’s ensemble comes pretty darn close. Sarah Shapiro, Sabrina Cosden, Olivianna Angulo, Stacey Cosden, Ally Kasman, Akram Koraym, and Emily Talmadge come together as one solid voice to give Egypt a backdrop of citizens who are anything but extras. From their various smaller roles to their miraculous vocals, this ensemble makes the audience feel like they’re experiencing the oppression of the Hebrews firsthand. The ensemble is pure fire (literally!!!) as the Burning Bush, taking center stage with torches to light the darkness. Singing in one voice, the ensemble serves as the voice of God, commanding Moses to return to Egypt and free his people. This is a touching recollection of God’s promises to His people, with the voice of God coming from the people themselves, rather than a disembodied voice from above.
An amazing reminder of faith and togetherness, Artistic Synergy of Baltimore’s The Prince of Egypt is undeniably the best musical performance the troupe has ever presented. As a company that has spent its entire existence pulling itself up by its bootstraps, ASoB has come a long way in their fourteen years as an ensemble, and this production shows the dedication and strength of its members. My hat is off to Melissa, the Board of Directors, and this incredible cast. Here’s to you all, and here’s to the future of ASoB. This troupe is evidence of what happens “When You Believe.”
Don’t spend forty years wandering in the desert, because this production only runs from March 13 through March 22!
Running Time: Approximately 2 hours and 30 minutes with one intermission
The Prince of Egypt plays through March 22nd 2026 with Artistic Synergy of Baltimore at Prince of Peace Lutheran Church— 8212 Philadelphia Road in Rosedale, MD. Tickets are available at the door or in advance online.
