Aida: Love and Death on the Nile

MANILA, Philippines - With music by Elton John and lyrics by Tim Rice (they first collaborated on The Lion King), the musical play Aida opened on Broadway some 10 years ago to a lot of fanfare — eventually winning a Tony and a Grammy. Billed as a timeless, epic love story, it revolved around the story of the Nubian princess, Aida, stolen from her country by Radames, an Egyptian military officer, who is betrothed to Amneris, daughter of the Egyptian Pharoah. The Atlantis production of Aida, now running at the Carlos P. Romulo theater at RCBC, Ayala Avenue, is one must-see, if only for the astounding singing that comes to us courtesy of Ima Castro, Rachel Alejandro and the multi-tasking Myke Salomon (more popularly known as Myke of the then Akafellas, and now, Sabado Boys).

Directed by Chari Arespacochaga, the musical makes for one truly entertaining night. The themes of forbidden love, tests of loyalty, and instances of betrayal and forgiveness, create more twists and turns in the plotline, that would pass muster in our best local teleserye. The musical is also punctuated by sheer magical comedic moments — case in point, the song My Strongest Suit, as sung by Amneris (Rachel). And there’s Sir Elton’s masterful use of diverse musical genres — as when Hajji Alejandro as Radames’ scheming father breaks into reggae when singing Another Pyramid, and the negro spiritual/gospel influence found in The Gods Love Nubia, as sung by Aida (Ima.

Rachel Alejandro (center) wraps her vocal cords around songs like Strongest Suit and I Know the Truth

Ultimately, it’s the singing of Ima in the title role that brings this production to a world-class level. Along with Myke, whose growl and R&B inflected interpretation of his songs work like a charm, the duets of Written in the Stars, Enchantment Passing Through and Elaborate Lives just make you want to rise to your feet and applaud. And when Rachel wraps her vocal cords around songs like the aforementioned Strongest Suit, and I Know the Truth, or joins both Aida and Radames on A Step Too Far, she makes the songs very personal and we are reduced to laughter, moved to sympathize and feel concern, depending on what she wants to convey.

Kudos to Chari and the rest of the cast for trying their very best, given the limited resources, to give the play the scope and magnitude that was part of the magic of the original production. You’re talking pyramids, ancient Egypt, of epic battles and love, and despite working with an ensemble cast of some 16 members, we suspend disbelief, and allow ourselves to be transported to this other place and time, carried by the superb voices and singing.