This transcript was automatically generated and might contain errors.

[0:00] Jeffrey Scott Parsons: Hey, everybody. Boy, do I have a treat for you. Now, usually on the show, we cover some of our favorite musicals in theater history. Today, however, we're covering a musical that may be one of your favorites in the future. Since we can't go to the theater right now, I thought it'd be fun to dedicate an episode to a show that you can look forward to seeing sometime soon. So, welcome to an episode all about the new musical THE PRINCE OF EGYPT.

[0:39] Jeffrey Scott Parsons: Welcome, everybody, to a musical theater podcast where we discuss the cultural and emotional impact of some of our favorite musicals in theater history. My name is Jeffrey Scott Parsons. You can call me Jeff. Today, we're talking THE PRINCE OF EGYPT, a new show. And to talk about this show with me is J Scott Lapp. And I'm going to call you Jeremy.

[0:56] J Scott Lapp: Hi. Hey, Jeffrey. How are you?

[1:04] Jeffrey Scott Parsons: Welcome. I'm so grateful you're doing this with me. Now, please tell everybody why I'm so lucky to have you as my guest.

[1:11] J Scott Lapp: Oh, gosh. I started on PRINCE OF EGYPT back in 2016. I've worked with the Schwartzes for a number of years on THE HUNCHBACK OF NOTRE DAME and MURDER FOR TWO and a handful of other shows. And when THE PRINCE OF EGYPT came along, it's one of the greatest animated musical movies of all time. And so, to get a chance to put that on stage, because it's always been a show that people have called for and asked for to be seen on stage, so to get to work on that has been pretty special. And it's an ongoing piece of work. It's changing constantly as we continue to do it and do numerous productions around the world.

[1:54] Jeffrey Scott Parsons: That's fantastic. Your title would be assistant director?

[1:56] J Scott Lapp: I'm the associate director on the show.

[2:01] Jeffrey Scott Parsons: Associate director. Okay. Can you help us know what that means?

[2:07] J Scott Lapp: Yeah, absolutely. I think working as an associate director is different with every director that you work with. So, I have a long history working with Scott, and it has changed from running understudy rehearsals to now giving notes to actors during tech and communicating with the different tech departments. It's kind of an all-hands-on-deck type of role. So, it's really fun, and it's definitely a lot of work, but it's really gratifying at the same time. I think musical theater, and I've said this before, is probably the most collaborative art form that you can be a part of, right? And boy, oh boy, does collaboration just require effort.

[2:50] J Scott Lapp: It does! It just requires effort, and so to have somebody like you there essentially facilitating collaboration, I think, is so important.

[2:55] J Scott Lapp: I'm kind of working hand-in-hand with the stage management team to fill out schedules and figure out when we can do fight directing days. Because we have so many different departments on the show, from illusion designers to sound and lighting and costumes, and all of those departments factor a great deal in the day-to-day process of a show. So, we were really lucky in London where we had kind of one big rehearsal studio, and everything was encapsulated in that one space. So, we had our costume department right there just outside the door. So, if we were working on a sequence where we had, you know, these magic tearaway costumes, I could walk down the hall and grab Anne Holden Ward and bring her into the room and be able to show her right away what we were working on.

[3:42] Jeffrey Scott Parsons: I had no idea she did the costumes.

[3:44] J Scott Lapp: Really?

[3:46] Jeffrey Scott Parsons: She did, yeah. She's unbelievable.

[3:46] J Scott Lapp: That makes me very starstruck.

[3:51] J Scott Lapp: And he's fantastic.

[3:52] Jeffrey Scott Parsons: That's so cool. So, you started with the show in 2016, is that what you said?

[3:57] J Scott Lapp: Yeah. So, they had done a concert out at Bay Street Theatre, a free concert in the park, of one act of the show.

[4:05] Jeffrey Scott Parsons: Was that the one that everybody had all of the hoopla about?

[4:10] J Scott Lapp: It sure was.

[4:10] Jeffrey Scott Parsons: In terms of casting?

[4:11] J Scott Lapp: Yeah.

[4:12] Jeffrey Scott Parsons: There was a lot of outrage?

[4:14] J Scott Lapp: There was. A lot of people kind of took to Twitter and to social media to complain about the, I guess you could call it, whitewashing of the casting for that. And so, it was a difficult bump in the road. And they ended up canceling that concert and kind of rethinking about how they wanted to do the show. And I think the plan all along was to do a very diverse cast. But I think that message that was sent from, you know, social media and the community really pushed the track along.

[4:43] Jeffrey Scott Parsons: Wow.

[4:44] J Scott Lapp: I think it was a conversation that needed to be had, you know?

[4:46] Jeffrey Scott Parsons: For sure.

[4:46] J Scott Lapp: I think it was an important thing to talk about. So, I'm glad that it happened.

[4:50] Jeffrey Scott Parsons: That's amazing. Okay. So, then after the whole concert situation, then Silicon Valley happens, right?

[4:57] J Scott Lapp: Yeah. We actually did kind of two workshops in between that. And then in October of 2017, we went to TheatreWorks Silicon Valley and did our first production there.

[5:09] Jeffrey Scott Parsons: And at what point? Because, granted, it's based on a film. So, there was already a product there. But do you remember any specific moment when you thought, Oh, this is a show. Like, this is actually a thing.

[5:19] J Scott Lapp: Yeah, I mean, we'd always talked about what this show was going to look like. And was it a festival piece? You know, was it something grand, you know, with amazing biblical costumes? And I think what really changed the conversation for the piece was when Sean Cheeseman was brought on and his ideas and his staging for the choreography. Because it started to turn into something different, you know? When you do a piece on stage that's a beloved animated film, you have to find a different vocabulary. You have to find what sets it apart theatrically. And I think the addition of Sean to that process really was the guiding force in making that shift. Because then, you know, the River Nile took a different shape because it became dancers who danced with this basket for, you know, a four-minute sequence. And the plagues that come in act two, that became a big dance sequence. And all of those things kind of really helped shift and shape what the show was going to look like eventually.

[6:22] J Scott Lapp: I mean, kudos to the whole team for going there with it. Because I think that nowadays it would be very tempting to just say, We're going to do everything with projections. Game over.

[6:30] Jeffrey Scott Parsons: That's the thing. And that's, you know, that's one of the things we talked about from the very beginning was you don't just want to show an animated feature on stage. I mean, people can go and watch the movie if they want to. But when you come to see a live theater piece, you want to be transported. And you want to make the audience use their imagination and kind of fill in the pieces that you leave out. So that's what not showing, you know, just a ton of projections does.

[6:57] J Scott Lapp: That's great. From there, where does the show go next? I know you guys did it in Denmark, right?

[7:02] J Scott Lapp: Yeah. So we went to this little theater called the Fredericia Theater in Denmark, which is based in Fredericia. And we went there because I think Phil had a good rapport with the company. And this company, albeit small...

[7:19] Jeffrey Scott Parsons: Phil the book writer.

[7:20] J Scott Lapp: Phil the book writer, yep. He had a relationship out there and he lives out there. So I think he had seen productions there before and saw what they could do technically. And they were well funded by the government. And so we went out there and we did the production there after TheatreWorks Silicon Valley.

[7:37] Jeffrey Scott Parsons: A way to go Denmark.

[7:39] J Scott Lapp: Yeah, it was pretty amazing.

[7:41] Jeffrey Scott Parsons: The government funds the theater. That's pretty amazing.

[7:43] J Scott Lapp: The government gives a lot of money to that theater. And so we were able to do a lot of things that we couldn't do at Silicon Valley.

[7:51] Jeffrey Scott Parsons: Wow. Then I guess my next question is, why the West End?

[7:57] J Scott Lapp: You know, I think after TheatreWorks and Denmark, we kind of knew that the show needed to take a big step. So there was a lot of discussion about Broadway. Do we do a national tour? Do we go to London? And I think everyone felt like with Steven's success over there, especially with Wicked, that the show would be received really well in London. And so when the theater became available, we're at the Dominion Theater in London. When that became available to us, it's a 2,000 seat house with a huge stage that would allow us to do kind of everything we wanted to do technically with the show. And so that just became kind of the goal in sight, to go towards London and do a production there and get the cast recording there.

[8:40] Jeffrey Scott Parsons: Now, the Steven we're talking about is, of course, Steven Schwartz, who wrote the music and lyrics and is very much a musical theater legend. I understand that I'm asking you this question and not Mr. Schwartz himself. But do you think that he has a better relationship with musical theater in London in the West End than he does on Broadway?

[9:00] J Scott Lapp: I do. You know, I think he has a lot of shows that go up in London. He had a production of Rags. He had kind of two productions while we were there working on Prince of Egypt. He had our show and then a production of Rags that he wrote years ago that's kind of been refocused and refinished. And there may or may not be an episode dedicated to Rags coming up soon.

[9:23] Jeffrey Scott Parsons: But the audiences over there, I think, really value and appreciate Mr. Schwartz and the work that he does, especially with Wicked. I mean, Wicked's been there, gosh, I don't even know how long, 13 years or something like that. And he's beloved. I think it's embarrassing that he does not have a Tony Award for writing music. Like, are you kidding me? Right?

[9:44] J Scott Lapp: That's like up until a few years ago when Martin Scorsese didn't have an Oscar for directing. You're like, how has this happened?

[9:53] Jeffrey Scott Parsons: How did that happen?

[9:54] J Scott Lapp: Yeah, exactly. Speaking of films, let's go back in time to the whole origin of The Prince of Egypt. And it starts out with Jeffrey Katzenberg. Now, Jeffrey Katzenberg is not necessarily someone who I speak of in dulcet tones. Because he oversaw Walt Disney Animation during the early 90s and is kind of infamous for not necessarily being an animator's dream boss. Right? I think he infamously told the animators at Disney that he wasn't interested in an Academy Awards. He was interested in the Bank of America Awards. Like, that kind of tended to be his outlook on things. But that being said, he brought many of my favorite films as a child to the big screen, including Lion King, and had a long relationship there.

Unfortunately, he and the CEO, Michael Eisner, have this big falling out. And so Jeffrey Katzenberg leaves Walt Disney Animation and starts DreamWorks with Steven Spielberg, who needs no introduction, and David Geffen, who is an incredibly rich music person, but also a producer of musical theater. And they start DreamWorks. The first animated film that comes from the DreamWorks company is Prince of Egypt. And because Katzenberg had a great relationship with Steven Schwartz, who had done a lot of work for Walt Disney, they bring him on to write music and lyrics. And they hire Philip LaZebnik to write the script. The whole project has a budget of about $70 million. Once the animated film is released to generally very positive reviews and positive box office sales, it ends up earning over $200 million in the box office.

So it was a very successful film. It wins an Academy Award for the big song, When You Believe. It obviously is a story about a lot of miracles. None of which is smaller than the fact that they managed to get Whitney Houston and Mariah Carey to sing a song together. And I think this animated film really becomes a big part of many of our lives, of our generation at least. I remember watching it in seminary class, you know, as like a fun day. It is the story of the exodus of the children of Israel from slavery in Egypt, thanks to Moses. And it is found in the Book of Exodus in the Old Testament in the Bible, as well as in the Torah for the Jewish faith. And it's an incredibly important story that has long traditions in both the Christian and Jewish faith.

[12:39] Jeffrey Scott Parsons: Now, when do you remember first seeing the animated film?

[12:50] J Scott Lapp: Gosh, I must have been, I don't know, somewhere in my early teens, I think, when we first got the VHS. And I brought it home and watched it and watched it over and over. And the music and the way that they combined kind of typical animation with computer animation, it was one of the first times I'd ever seen that. And so I remember that story and growing up hearing the exodus story, you know, a number of times. And so to see it portrayed in a musical and on film in this animated glorious feature, it stuck with me.

[13:22] J Scott Lapp: I don't remember the first time I saw it. I honestly think it may have been in seminary. Thanks, Church. Now, Stephen Schwartz as a composer is not new to religious storytelling as a source for musical theater.

[13:38] Philip LaZebnik: He started out his career writing Godspell, which is a very abstract look at the teachings of Jesus Christ while he was on Earth, as well as Children of Eden, which is another popular great musical. First act is all about the Garden of Eden, second act about Noah and the Ark. So the fact that he tackled Moses is not too surprising. Why do you think he gravitates towards these stories of faith?

[14:03] J Scott Lapp: It's funny. I asked him that very question kind of during one rehearsal day where I was sitting next to him and was just curious to see why he's always kind of come back around to these biblical stories and teachings. And what he said was that it deals with larger-than-life events, and the human response to those is what is so intriguing. So these miracles happen throughout the show and throughout these different biblical storytellings. But what's the most interesting is how the people are affected. And I think the Bible doesn't get so far in depth as to how they're affected and what the real kind of brain space that these people are going through during these times. But that's why I think he's focused so many of his original works on these stories, because he could really dive in and delve into the behind-the-scenes story, what's happening inside these characters' heads, which is what musical theater does so well.

[15:01] J Scott Lapp: You know, I'm going to be vulnerable for a second and say, as a religious person, do I believe that these crazy things literally happened? Yes. Do I know they happened? No. Can I scientifically prove that Moses literally parted the Red Sea and an entire nation of people walked through on dry land? I can't. And as a progressive person, I know that I sound crazy, but on some level, I do believe it, because I believe it is such a physical manifestation of what's going on on the inside, you know? Absolutely. Absolutely. And if that isn't a perfect example of musical theater, then I don't know what is a physical manifestation of what's going on on our insides.

[15:58] J Scott Lapp: The show, you know, the Exodus story is all about these incredible miracles that happen, you know, from turning a staff into a snake to turning the river Nile into blood, all the different plagues that come down. But what does it look like for the people that are experiencing that on the other side? You know, we always see, and you can think of these movies that have these great, you know, features and special effects, but you never really get to understand how it affects people. And I think that's what theater does so well, and that's what the show, in my opinion, does really well as well.

[16:37] J Scott Lapp: Well, I think that humanistic approach is definitely due to the creative approach that was brought by the production team. Thanks to you, Jeremy. I had an opportunity to chat with the book writer himself, who was also the writer of the original film, Philip. So, without further ado, let's go listen to a little bit of that conversation.

[17:02] Philip LaZebnik: How's Denmark?

[17:03] J Scott Lapp: Denmark is lovely. Well, it's lovely in all meanings of the words right now because the weather is beautiful. The sun is just setting. I'm actually doing this from our summer house on this little tiny island, so it's very, very idyllic.

[17:15] J Scott Lapp: That's fantastic. Now, you're born and raised in Michigan, so what's up with Denmark?

[17:21] Philip LaZebnik: I was born in Michigan. I was raised in Columbia, Missouri. It's a wonderful place to grow up. It's a university town. The University of Missouri is there, although my father actually taught at a girls college, a women's college, Stevens College in Columbia, Missouri. So, that's where I grew up.

[17:42] J Scott Lapp: Oh, wow. Then, how did you find your way to Denmark?

[17:45] Philip LaZebnik: Well, many years ago, when I was in London, I was standing in line to get to the House of Parliament. This girl behind me said, I have a ticket. Is this the right line? I just glommed on to her and followed her back to Denmark and proposed. Many years later, after we had lived in first Chicago and then Los Angeles for many years, we finally came back to Denmark. As a matter of fact, when we first got married, this was 40 years ago, I had said, let me have three years. After three years, when I get my first show on Broadway, we'll move to Denmark. I'm about 40 years behind schedule, but who knows if they actually happen.

[18:37] J Scott Lapp: You might be on your way. That's so exciting. You are responsible for much of the joy from my childhood, I'm not going to lie.

[18:43] Philip LaZebnik: And I take that back, not childhood. It's like adolescence, because Pocahontas, Mulan, Prince of Egypt, all films that you wrote and worked on were big parts of my life. So thank you for that.

[19:00] Philip LaZebnik: Well, you're welcome. And you know, it's interesting, because there was a period, let's say about 10 years after I'd written them, when they were just these old movies that I had written and which I thought, well, I guess people will remember them, but I'm glad, I'm very proud that I wrote them, but I'm going to move on. However, recently, well, within actually the last 10 years, what I've run into more and more and more are people who grew up with these movies, and who now are in the theater, the movie or the TV business, who are now my colleagues, but who loved the movies growing up, and it meant so much to them. And in particular, Prince of Egypt, which I always thought was a movie which really had been forgotten.

It was a fair success at the time. But it wasn't a Disney movie. It's a DreamWorks movie. And it was an anomaly. Because it was the one and only movie that DreamWorks made, which was somewhat of a serious adult movie, in some senses of the word. But when they didn't make a billion dollars, the way that The Lion King did, and when Shrek did, they abruptly switched course. And from then on, DreamWorks made these sassy, funny tongue in cheek movies. And Prince of Egypt was like Kung Fu Panda.

[20:27] J Scott Lapp: Exactly, exactly. And so Prince of Egypt was just out of the cold. But I was really surprised when I started working on this. And this has been seven years in the making now since we began, how many people have come up to me and said that they loved the movie, and it was their favorite movie and how much it meant to them. I've been really, really struck by it, that it was much more important to more people than I ever dreamed.

[20:57] J Scott Lapp: Yeah, I'm sure. I'm sure. I think that there's a sense of nostalgia for my generation in particular, that is so important to us, because we realize how much these stories have taught us and have become part of who we are. I recently rewatched The Prince of Egypt for Easter.

[21:12] Philip LaZebnik: Or Passover, as the case may be.

[21:20] J Scott Lapp: Yes, exactly. Right. That shows my upbringing. But it was always a tradition growing up that we would watch The Ten Commandments as a family. My dad was a huge fan of the Charlton Heston glory of The Ten Commandments.

[21:35] Philip LaZebnik: Charlton Heston was invited to the premiere of the movie, Prince of Egypt, and he came, which was fun.

[21:39] J Scott Lapp: Did he come?

[21:45] Philip LaZebnik: Yeah. Oh, that's cool. But now as an adult, I prefer watching Prince of Egypt. I think that it's more emotionally evocative and actually holds up even better than The Ten Commandments.

[21:55] J Scott Lapp: Well, excellent. And just wait till you see the musical. I think it's even more. What I think is so interesting is the symbiotic relationship between musical animated films and musical theater, right? Musical theater inspired animated musical films and now animated musical films are coming right back into musical theater in this cycle. What do you think that's all about?

[22:19] Philip LaZebnik: I think we owe it all to Howard Ashman, frankly. Thank you. He really reinvented the form of the movie musical. When Disney started remaking animated features again in the second golden age, they had a couple of choices to go down. They could have everybody assumed that there'd be songs and animated feature because Walt Disney had songs. So that without saying. But there is the old and bad tradition of you just stick in a song here and there to entertain the kids. Then you move on with your story. And then there's the Broadway tradition of the integrated musical. And one of the smart things that Disney did, and to be precise, that Peter Schneider and Tom Schumacher did because they were the heads of the animation division at the time, was to invite Broadway, a Broadway composing team to do the music.

And they made a very wise choice in Howard Ashman and Alan Menken because Howard Ashman really, for the very short few years that he was at Disney, was a driving creative force in how they told those stories. And, you know, nowadays, virtually every movie ever made is now made into a stage musical. However, I have to say that animated features, and in particular, Prince of Egypt has a huge head start because they really are musicals. Prince of Egypt really is a musical. And I always said that I thought we had a huge head start. Really, a hit musical needs a hit song, a Hello Dolly, a Let It Go, a song that the audience knows before they come into the theater. And we had that with There Can Be Miracles.

I honestly believe that in terms of opening numbers in animated musical films, you got Circle of Life, which is always going to be, you know, one of the greatest of all time. You have the opening to Beauty and the Beast, Belle, which I find also incredibly sophisticated. And Deliver Us, I think is right up there with both of those. It is chill-inducing every single time.

[24:47] J Scott Lapp: Yes, it is. It is terrific. And it was written before a single word of the script was written. Because before we even began, before I was even on the project, they knew that they wanted to tell the story of Moses, the river Nile being discovered in a song ahead of time. So that song actually was written and they had started to animate it even before the script began. Wow. So but I said the great news for us starting the musical was usually the opening number is the toughest thing to come up with. And we had it already. You know, it's changed somewhat. I wouldn't say that not a note has been changed, but we had our opening number.

[25:32] Philip LaZebnik: That's fantastic. What do you think, speaking of what it takes to bring something from film to the stage? What was the most challenging thing for you? Or where did you see opportunities in the stage version that maybe you wouldn't have been able to find in the animated film?

[25:50] Philip LaZebnik: Well, the opportunity was to explore the characters much more. An animated feature is very short. It's 80 minutes, 85 minutes. But now we have the opportunity to really go into the characters. And one of the great opportunities for me in the musical, it was always a story of relationship between two brothers. But in the movie, Moses definitely winds up with the upper hand.

[26:13] J Scott Lapp: Sure.

[26:22] Philip LaZebnik: In the musical, it's a much more even relationship. And Ramses has his own point of view. He has his rationales. He has a redemptive arc in the course of the musical. And it's much more adult. It's much more ambiguous. It really is about people and real people. They just happen to be stuck in this epic biblical story. So that was the great opportunity. The challenge was Prince of Egypt, the movie, is a beautiful movie. It has stunning David Lean sort of vistas with the pyramids and the desert and the parting of the Red Sea, all of these super duper special effects, which we just couldn't do on stage. And we managed to do it.

[27:17] Philip LaZebnik: I would say, in large part, Scott Schwartz, the director, had this vision of telling the story using the actors' bodies to form parts of the scenery and through dance, to the point where I joke that after a show, I always, what happens is I will have friends, family, no matter how well they know me, they come up to me and say, we just love the show, particularly the dancing, it's just spectacular. I say, oh, well, thank you very much. But what did you think of the show as a whole? And they say, well, you know, the choreography is just so brilliant. You know, we just love it so much. And I finally, I'd say, but what about the story? Did you like the story? I say, oh, yes, yes, yes. We love the story, as told through the medium of dance.

So suddenly, this show has turned into a dance show. But it's wonderful. Yes, yes, yes. Which is kind of poetic, because I think that that happened to Mr. Schwartz early in his career with Pippin, right? Where he had created the show, and then Bob Fosse came in and was like, and now it's a dance show. Yes, we've talked about his experience with Bob Fosse. And what Steven says is that at the time, well, he was very young. He was 21 years old. He was very, very young. Oh, my gosh. And he said he really was too young. He didn't really get it. He said that he was, yes, in many ways, in this battle with this gargantuan director, Bob Fosse. He said, but in later years, ironically, he finds himself often protecting the work of Bob Fosse for the musical.

So it's come full circle. Of course, in our case, our director also happens to be his son. He's a brilliant director, of course, in his own right. And I've often said that now Steven has gotten to the point where some people might be intimidated by him and not willing to say, no, I don't like this or throw this out. Scott does not have that problem. Leave it to a son to be like, Dad, this sucks.

[29:32] Philip LaZebnik: Okay. I want to know if you have any favorite moments as a writer in discovering little pieces that made the puzzle come together.

[29:42] Philip LaZebnik: Yes. As a matter of fact, when we began, we started off with putting just the first act, not on stage, but behind reading stands for a reading. And so I was working on the first act. And after the reading, after the reading had happened, I suddenly had an epiphany. I suddenly understood how Ramsay's story had to end in the second act. And it all came from his father accusing him of being the weak link in the first act. And I went up to Steven, and I'm not going to give it away, but I said, you know what has to happen in the second act? This has to happen. The thing about Steven is he's so fast. All you have to do is get two words out. He instantly gets it. And he instantly said, that's it. It's perfect. So that was an example of the pieces fitting together, which was really, really delightful.

[30:47] Philip LaZebnik: Now, one of the big purposes of this podcast is to talk about the cultural and emotional impact of shows, because I think it's one of the things that musical theater does best is that it allows us to learn and feel at the same time. So what do you think? I mean, and there's a song about having footprints in the sand and footprints in time. What do you think is the footprint of this show? You know, this show on its journey to the West End, and hopefully beyond once theaters reopen, and everywhere, audiences have really reacted emotionally to this show. But it really, in many ways, speaks very specifically to these times. And frankly, I think, even more now, after the pandemic, in that it's about two tribes of people, really three tribes, but the ancient Egyptians and the Hebrews, whose experience and understanding of life is so different, that they can't even understand each other.

They don't even see each other, which speaks so clearly to the situation, frankly, that's global. Not in the United States, there are obvious parallels. But it's true in every country in the world more and more that people have cordoned themselves off into tribes and do not understand each other. But they are thrust into a situation beyond human understanding, beyond their power to cope with, and yet they do have to cope with it. That's fantastic. That makes me so happy. Thank you so much. Oh, wait, question, because I stalked you on IMDb. The amount of writers on Pocahontas and Mulan, crazy. You know, when you're working on a big studio animated feature, I always say it's much more like working at the UN than writing, because you have 30 people around a table, producers and directors and story artists and heads of stories, animators and so forth.

And each one has a voice in the process. And then there was, in our case, Jeffrey Katzenberg, the ultimate voice. And the writer's job was to write the consensus and to make sense of it all. In the musical, it's much more my personal work than the movies were. I enjoyed both of them. But comparing TV, film and live theater, there's no comparison. Live theater, by far the most fun, the most exciting, the most rewarding. You hear that people? You hear that? Well, I'm looking forward to seeing your show in the future. I have high hopes. It's so great to meet you. Thank you for this conversation. Fantastic. Have a wonderful evening up there in my Nordic homeland. That's where my people are from.

Oh, really? Yeah. Literally Denmark? Literally Denmark and the UK. I'm about as white as you can get. Have you been to Denmark? Never. You should come. It's lovely. I would love to. Okay. Thank you. Have a wonderful day. Bye.

[33:53] J Scott Lapp: Now, were you involved in the casting process at all? Were you there when it was all going down?

[33:58] J Scott Lapp: I was, yeah. Yeah, we went over for two weeks, what was it, in the summer to go do casting, and we saw close to 3,000 people while we were there for the two weeks.

[34:08] J Scott Lapp: The role of Moses ultimately went to Luke Brady, and what was special about him from your memory?

[34:15] J Scott Lapp: Luke came into the room, and he wasn't as clean and polished as a lot of the actors we saw. We saw a lot of people during those two weeks that were stars in Aladdin and stars in Hamilton, and Luke came in and was kind of a relative newcomer, at least to the West End. But there was a humanity and a humbleness about him that pushed past the tables, and we were able to kind of see that a man like Luke had so many similar qualities to Moses, and it just was a no-brainer for us.

[34:47] J Scott Lapp: That's cool. That's also a little bit more like the scriptures themselves, right?

[34:54] J Scott Lapp: Absolutely. Technically, Moses wasn't a great public speaker. I believe he had kind of a stutter and he needed a mouthpiece for him, which was where Aaron came in. I think that humility is a big, important quality for the actor playing him. And it was something that we weren't going into casting thinking about that, but as soon as we saw him and met him, we realized that his acting chops and the sincerity that he had in all the scene work was something that we couldn't pass on.

[35:30] J Scott Lapp: Another one of the, I think, big discoveries of the show, at least someone that I didn't know, was Christine Allado, who's playing the role of Zipporah. And this is a role that has been, I think, fleshed out even more for the musical than it was in the film, to a place that's actually really exciting. What does Christine bring to the role?

[35:53] J Scott Lapp: I mean, Christine is just effervescent. When she walks into a room, she is stunning to look at, and she can sing her face off, which doesn't hurt. And she is very honest in her scene work. And so when we paired the two of them together, seeing the chemistry that was there naturally became very exciting for this new role that we were expanding all the time and thinking about how Zipporah, the woman behind Moses, kind of affects his journey throughout the show. And we realized we needed a rock, and so Christine was that rock for us.

[36:29] J Scott Lapp: Love that. Great. So we're kind of in the process of setting up maybe an interview with both of these fine actors. So I'm going to now insert a place in this podcast for that to go. So hopefully after I get done saying the sentence, you will be introduced to the voices of Luke and Christine.

[36:52] Luke Brady: When I recorded with Jeremy, we did like this whole little him remembering what you guys were like in the audition room.

[36:58] Christine Allado: We didn't audition.

[37:00] Luke Brady: I did.

[37:01] Christine Allado: Oh, God, he did. I didn't, too. I just got the offer. Hashtag booked and blessed.

[37:07] Luke Brady: Exactly. That's funny. But anyway, so he kind of introduced you. What we didn't talk about, though, is, and I promise I won't focus long on this, you're dating, right? You're dating? Did you guys meet, know each other before?

[37:29] Christine Allado: The press, you're like, shoot, here we go. We crossed paths, apparently. And when I was in Hamilton, he was in my press night because he's... I went to drama school with Jamal.

[37:45] Luke Brady: Oh, okay. I was meant to play Hamilton in LA, actually, until all the craziness happened.

[37:50] Christine Allado: Really? So I managed to sort of wind up some tickets for the press night and would have just, well done at the end of the show, kind of.

[38:01] Luke Brady: Yeah. So that was an audition. And then, yeah, I guess we started working together.

[38:05] Christine Allado: So funny. I'm dead.

[38:10] Luke Brady: That's crazy. I feel like if you did a show together and then have been quarantined together, you're basically on your golden anniversary.

[38:13] Christine Allado: We've been together for 10 years.

[38:14] Luke Brady: I'm glad it's being acknowledged.

[38:18] Christine Allado: It's a way to get to know someone.

[38:22] Luke Brady: I mean, it's quite funny. I think similar to the characters that we play, it was quite similar that we were kind of... because Sephora and Moses, which is so funny to say because they've not been in our lives for two months, but the characters Sephora and Moses, they were kind of trying to avoid each other for the longest time and kind of encircling each other almost and just kind of seeing how the person operates. And similarly, that's how we were. So when we did get together, everyone was like, what? So are we. We were like, eh? We're still digesting it, really.

[39:50] J Scott Lapp: That's really cool, though. Congratulations. That's awesome. I have to admit that here on the podcast and I think just in general in the United States, we sometimes talk about the influence of the British on musical theater as like this invasion. But at the same time, the stuff that has come from the UK and from talented artists like you guys has greatly influenced my life. I certainly wouldn't be who I am or doing what I'm doing if I wasn't listening to Les Mis and Phantom of the Opera on my kitchen counter that my mom had brought home the cast album, that sort of thing. Even nowadays, some of my favorite leading ladies like Maria Friedman and Joanna Riding and Ruthie Henshaw all come from the UK. So I want to put out there that like go West End and we love you guys. What is the lens that the British have on American musical theater? What is it like on the British end of that?

[40:41] Luke Brady: Interesting. I mean, I was in New York most of last year. I saw a few shows. I mean, one show that I absolutely adored, but it did originate over here, but was written by an American. So it's like who has ownership was Hadestown. And I saw a few other shows and there's just I don't know, it's just there is a different kind of approach almost like there's a different ethos to how American musical theater is to British musical theater and they both work in the ways that they do. I mean, I don't know. I think each one does have its own kind of charisma and character and you can pinpoint it in different ways. Like, okay, here's an example. When I saw Hamilton on Broadway before I was in it, it was very much like impressive.

All these incredible riffs. It was like a showcase. Like it was incredible to watch. Like I was seeing the Super Bowl, but then when I did it over here, and you know, obviously my perspective is different because I was in it. I kind of locked in more into the story and the characters. But I think that's just generalization though. And like, I think each.

[40:56] J Scott Lapp: Thank you, Jeremy, so much for setting up all of those wonderful conversations. It's added so much to this episode, and you can kind of feel the excitement from everybody about this project and about the possibility of bringing this project to more and more audiences.

[41:42] J Scott Lapp: Absolutely. Okay, as I talked about this with Philip, but Deliver Us, which is the opening number and opening sequence of both the film and the musical, is one of the most thrilling openings ever, in my opinion. It's pretty darn exciting.

[41:50] J Scott Lapp: Yeah, you know, we had just gotten started in London. We had had, I think, 40 performances, and just about every single one of them was sold out, so the audiences were coming in droves, and it felt like the excitement and the forward motion was just building right as, you know, this virus kind of took hold.

[41:58] J Scott Lapp: It's so great! Yup. I mean, it's like a six minute long number in the show and it kind of tells and sets up the entire story and is done so in a way that is exciting and thrilling and, I mean, that music, once you hear that music and that trumpet that comes over the horizon at the start of the song, it gets you chills right away.

[42:06] J Scott Lapp: Wow. As our own plague came into contact with, unfortunately, so many people, including our beloved theater community. But we're hoping for a miracle, right?

[42:18] J Scott Lapp: We are. Yeah. And, you know, I think the show will go on. I think, you know, once it's safe to do so and people feel comfortable coming back to the theater, this is a show that people are going to want to see, because there is such a message of hope and togetherness that the story kind of lands on, that I think that kind of story is what people will want to hear.

[42:22] J Scott Lapp: For sure! And I love the elements of, I mean, oh my gosh, I'm going to show my whiteness here, the elements of kind of Middle Eastern riffing. Yup, sure. It's so cool and so exciting and so expertly used for my Western ear to fully grab onto.

[42:38] J Scott Lapp: I agree. Cool. Let's go through the show, shall we?

[42:42] J Scott Lapp: Oh, totally. And I think that was the thing that Stephen really wanted to express and kind of delve into was that more Middle Eastern sound, because there isn't a lot of work out there, at least in our musical theater canon, that kind of deals with that. I think the only other thing I can really think of is The Band's Visit, which was on Broadway a couple years ago. But aside from that, he found instruments and this orchestrator who could kind of delve more into those sounds and bring a more authentic flair to the entire score.

[43:14] J Scott Lapp: Now, we set up the story, of course. Help me know why exactly this pharaoh whose name's Seti, right?

[43:22] J Scott Lapp: Yeah, Pharaoh Seti. Why is he so pissed off? Because it seems like everything's going swell for him. He's pharaoh. He's got all the money in the world. He's got all these slaves, you know, working day by day to create more wealth and more buildings known as pyramids for him. And yet, he decides to set out this decree that they've got to kill their children, or that their children will be killed. And what does that come out of? I don't think I even know.

[43:50] J Scott Lapp: You know, I think for the best part that I can tell you, is that I think biblically, he came into reign, he came into power, and he wanted to make sure that his dynasty lasted. And so one way to do that was to kind of make sure that the slaves weren't rising up and getting too large. So part of what he did was enact this clause to kill all the firstborn, and to make sure that he kept a tight clench around that community.

[44:18] J Scott Lapp: It is also interesting how he came up with that clause and in a way passed it down to his son.

[44:26] J Scott Lapp: Absolutely. And it would come to later haunt his own, you know, lineage.

[54:33] Luke Brady: It's been such a journey, and I think the most exciting part is that we were able to bring this story to life on stage.

[55:03] J Scott Lapp: Absolutely, and the way the music complements the storytelling is just phenomenal.

[55:33] J Scott Lapp: The emotional depth of the characters really resonates with the audience, and I think that’s what makes it so special.

[56:03] J Scott Lapp: We’ve had such a talented team working on this, from the cast to the creative team, and it really shows in the final product.

[56:33] J Scott Lapp: The choreography, the set design, everything comes together to create this immersive experience.

[57:03] J Scott Lapp: And the feedback from the audience has been overwhelmingly positive, which is so rewarding for all of us involved.

[57:33] J Scott Lapp: I think people are really connecting with the themes of hope and perseverance in the show.

[58:03] J Scott Lapp: It’s a story that’s relevant now more than ever, and I believe it offers a sense of comfort to those who see it.

[58:33] J Scott Lapp: We’ve all faced challenges, and this musical reminds us that we can overcome them together.

[59:03] J Scott Lapp: The collaboration between the cast and crew has been incredible, and it’s been a joy to watch everyone bring their talents to the table.

[59:33] J Scott Lapp: I’m particularly proud of how we’ve managed to adapt the animated film into a live stage production while staying true to its essence.

[1:00:03] J Scott Lapp: It’s a delicate balance, but I think we’ve achieved something really beautiful.

[1:00:33] J Scott Lapp: The music is such a powerful element, and it elevates the storytelling in ways that are truly magical.

[1:01:03] J Scott Lapp: Each song carries so much weight and emotion, and it’s been a privilege to work with such talented musicians.

[1:01:33] J Scott Lapp: The audience’s reactions during the musical numbers have been phenomenal, and it’s clear they’re really engaged with the story.

[1:02:03] J Scott Lapp: I think that’s what makes live theatre so special—the immediate connection with the audience.

[1:02:13] J Scott Lapp: It’s a shared experience that you just can’t replicate anywhere else.

[1:02:43] J Scott Lapp: And the cast has been so dedicated to their roles, bringing their own interpretations while honoring the original characters.

[1:03:13] J Scott Lapp: It’s been a collaborative effort, and I think that’s what makes the performances so compelling.

[1:03:43] J Scott Lapp: We’ve all learned so much from each other throughout this process, and it’s been a joy to witness that growth.

[1:04:13] J Scott Lapp: I’m excited for audiences to see the final product and to experience the journey we’ve all been on together.

[1:04:33] J Scott Lapp: It’s a testament to the power of storytelling and the impact it can have on our lives.

[1:04:43] J Scott Lapp: I truly believe that this musical will leave a lasting impression on everyone who sees it.

[1:04:53] J Scott Lapp: We’re all looking forward to sharing it with the world.

[1:05:13] J Scott Lapp: It’s been a labor of love, and I can’t wait for people to experience it firsthand.

[1:05:33] J Scott Lapp: The journey is just beginning, and I’m thrilled to see where it takes us next.

[1:06:04] J Scott Lapp: Thank you for having me on to share this incredible experience.

[1:06:12] J Scott Lapp: I hope everyone gets a chance to see the show and feel the magic for themselves.

[1:06:22] J Scott Lapp: It’s truly something special, and I’m so proud to be a part of it.

[1:06:32] J Scott Lapp: Let’s keep believing in miracles, as the show beautifully reminds us.

[1:06:42] J Scott Lapp: Thank you again for this opportunity to discuss our work.

[1:06:52] J Scott Lapp: I can’t wait to see what the future holds for all of us involved in this project.

[1:07:02] J Scott Lapp: It’s been a remarkable journey, and I’m grateful for every moment.

[1:07:12] J Scott Lapp: Here’s to the next chapter!

[1:07:22] J Scott Lapp: Thank you!

[1:07:32] J Scott Lapp: I appreciate it!

[1:07:42] J Scott Lapp: Looking forward to what’s next!

[1:07:52] J Scott Lapp: Take care!

[1:08:12] Philip LaZebnik: ...are whipping and mutilating these slaves, the Hebrews. And because of everything that's happened, he can't stand it. And he watches it and tries to ignore it, but at some point it becomes too much for him to handle. And he goes up and tries to stop a guard from whipping a man, and in doing so, accidentally knocks the guard off of this high scaffolding where he falls to his death. And Hotep comes out and says, did you all see that? This man killed one of our guards, and says he's going to banish him. And so Moses takes off running towards the desert, not planning to stop. Ramses runs off after him, and this song, I Will Make It Right, kind of happens at the edge of the desert, where if Moses continues off, who knows where he's going to go, or how long he'll be away.

And Ramses is there standing saying, you know, I'm going to make this right. Is this kind of where in the show Ramses starts to take on kind of more responsibility and says, you know, eventually I will become Pharaoh and I can change this. I can unbanish you from having to leave Egypt. And you kind of see, for the first time, Ramses kind of come into his own as a man.

[1:09:25] Luke Brady: And how does Moses react to that? Does he leave thinking that one day he will come back?

[1:09:31] Philip LaZebnik: No, I don't think so. I mean, I think Moses is so distraught and so broken over the fact that this thing happened, that even his brother's own plan and promising, you know, what his change for the future, I don't think makes a difference in Moses's mind. And he decides, you know, I love you, brother, but I have to go. I can't stay. Because everything I've learned all my life is a lie.

[1:09:54] Christine Allado: Right, right, exactly. He at least needs some time to process all of that.

[1:09:59] Philip LaZebnik: Right, exactly. Cue another miracle, which is that he goes through the desert and happens upon the exact same Midianite tribe to which Zipporah belongs. He goes and he's introduced to Jethro and Jethro is the father, you know, kind of the leader of the Midianites and the father of Zipporah. And Jethro invites, you know, Moses to come into the tent and join them for dinner, where he sits down and says, you know, so what are you all about? And Moses is like, you know, I don't know. I'm a nobody. And Jethro's like, that's silly. You know, everyone has a story. Everyone has, you know, their place in the world. And what's yours? So he goes off and sings, you know, one of the most well-known songs on the show, which is Through Heaven's Eyes.

It gives me all the feels. It makes me so happy to hear that song. And what a great match of the feeling that the music inspires, which is joyful and celebratory. And then also the lyric, which is like, no matter what is happening to you, try to have a little bit of an eternal perspective. Zoom out on the whole situation and look at it from something bigger than you. That's really important for Moses to hear at this point, but certainly for everyone to hear it always.

[1:11:15] J Scott Lapp: It's so easy, you know, to go through life being self-focused and on your own path and on your own achievements and all of that. But I think to open to a wider scope and see how you're affecting the world and your community, I think, is a lesson we all need to learn sometimes.

[1:11:32] Philip LaZebnik: Now how does Act One finale end? Because this is pretty epic, right?

[1:11:37] J Scott Lapp: So absolutely. What happens is after never in a million years, Moses goes off and goes searching for some sheep and comes across the burning bush. And the burning bush is this pivotal moment in the show where this bush comes to life on stage and we use actors to do it. There's, I think it's almost the entire company. There's like 20 or 25 actors that become the burning bush and, you know, tell Moses what he has to do. This is through the voice of God. And the voice of God kind of instructs Moses that you have to go back, you have to free your people. And so, you know, Moses is kind of taken aback by the fact that I think this is the first time he's seen kind of a miracle of this scale. And I don't even know if he knows what it means. So he goes back to Zipporah and she thinks he's crazy, you know, for believing that a burning bush could talk to him.

[1:12:27] Philip LaZebnik: And the way that you have staged the burning bush sequence in this musical is one of the things that I think is most inspired about the entire stage musical, from what I understand. Because all of a sudden, the character with the most power, the all-knowing, the omniscient, the greatest being is the entire cast working as one. And it's not just in terms of the voice of God or the burning bush. It's also the Nile River. It's also all of these miracles that are brought to pass by people working together as one. And I think that that's such an inspired lens on this story. Because all of a sudden, in many ways, the star of the show is this unit. It's not one person. It's no longer just Moses. It's everybody working together to create it.

[1:13:22] J Scott Lapp: You hit the nail right on the head. I mean, I think as we created the show and came about, you know, how do these miracles come about? What do they look like? You know, it became so apparent that this community that speaks together for the first time as a unit was so powerful, more powerful than an offstage voice or this booming voice that you can have in the theater. In the meantime, in Egypt, Pharaoh Seti, from the wounds that he encountered, that he incurred from his fight, his battle that he had, is starting to fade slowly away. And he does pass in this moment. And so Ramses and Tuya and Nefertari, who we haven't really talked about yet, are standing there at his bedside. And, you know, he is all of a sudden, in a moment's time, crowned the next pharaoh.

Back in Midian, Moses and Zipporah get married, and they set off back on their track towards Egypt to go confront Pharaoh Seti, because he doesn't know that his father has died yet. And that's kind of where we hang off at the end of Act One, is that Moses is going back to meet Pharaoh Seti again, and Ramses has just become pharaoh. And both of these men are kind of at a crossroads in their life.

[1:14:38] Luke Brady: So now we're in the bathroom, really excited for Act Two to start. And then we come back into the theater. And Act Two begins. They are now in Egypt, right?

[1:14:51] Philip LaZebnik: They are. Years have passed. You know, I think in the Bible, it's 40 years between the time that he's in the desert and then comes back, I think.

[1:14:59] Christine Allado: Wow. I don't think that hit home for me before.

[1:15:03] Philip LaZebnik: We don't really tell that story in the musical. Like, he doesn't get a beard, he doesn't turn into another actor. It was important for us to keep the same actor telling that story. But he returns with Zipporah and finds that his brother Ramses is sitting on the throne. And he's like, oh my gosh, what happened to father? And Ramses has to tell him, father's passed away. And mother really hasn't been the same since that happened. She's kind of retreated into her bedchamber and not really come out. And so, you know, Moses is confronted by these things that are changing even more than he thought they were. So now he has to have this conversation with Ramses, you know, years later about, I want you to set these people free.

And there's all these different factors and forces, you know, Hotep, who is the high priest, is still there and basically reminds Ramses that he's been banished. He can't be in this room with you. And Nefertari, Ramses' wife, is saying, you know, he's not family. He's not blood. You know, he shouldn't be here. You shouldn't be having this conversation with him. And then there's Zipporah who's like stuck, you know, following along Moses being like, well, what's happening? So there's a lot of things that happen at the top of Act Two.

[1:16:19] J Scott Lapp: Let's get to the fact where Moses kind of brings back the information that they are going to be freed.

[1:16:24] Philip LaZebnik: Yeah. So him and Ramses have this conversation down in their secret room. And basically Ramses says, I will agree to free the slaves as long as you come back to court and live with me so that, you know, our family is reunited again. And Moses says, that's all it's going to take. You know, all I have to do is come back and live. And Ramses is like, all I have to do is free the slaves and you can come. And they agree on it. So they shake hands and Moses, you know, is thoroughly excited and goes off back to the marketplace and kind of the gathering place for the Hebrews and tells them all, I did it, you know, God told me to free you and the Pharaoh has agreed. And they celebrate by singing this really great tune called Simcha.

Yeah. And throughout the show, you know, you've seen the Hebrews being oppressed and not being able to celebrate. And this is the first time where kind of the weight is lifted off their shoulders and they realize we're going to be free people. And what does that mean for us? And you see this really great number. And it's a big dance number too. And it's, it's one of the newest songs in the show because we've gone through a couple of different incarnations in previous productions. And that was the newest song that Steven wrote for the show. Unfortunately, the celebration doesn't last long because I guess Ramses gets talked into taking back that agreement.

[1:17:43] Luke Brady: Yeah. So he does that whole scene where, you know, he shakes hands and tells Moses, yes, this is what I'm going to do. And as Moses leaves, Hotep and Nefertari step out of the shadows, having watched this happen and are like, you can't do this. You can't, you can't go against history and against the dynasty. And so they force him basically to retract what he said. And Hotep goes out happily to announce the news to the Hebrews that, you know, oh, that's not what he meant. What he meant was now you're going to have to do double the workload and bundle your own straw and make your own mud bricks. And they go from a moment of exhilaration and happiness to all of a sudden being lower than they were before. What we learned is that the slaves at that time, the Hebrews, were considered the rock rubble, basically beneath your feet. They weren't even human, is what they call them.

[1:18:36] Philip LaZebnik: Gosh, that's so upsetting.

[1:18:38] Luke Brady: It was the way that things have been done for hundreds of years.

[1:18:44] Philip LaZebnik: Right, right. No, I get that. But you're like, okay, if they are the ground on your feet, then if they leave, you don't have anything to stand on. So why don't you take a humble piece of pie? You know?

[1:18:49] J Scott Lapp: Right. Yep, exactly.

[1:18:52] Philip LaZebnik: So the agreement goes down the drain. That means now we got to take more dramatic measures. Moses comes back and basically says, look, God wants you to do this. And here's some proof. And do you do the whole snake thing, like staff turned into a snake?

[1:19:10] J Scott Lapp: We don't do that. We don't do the staff into the snake, but we do, kind of, he plunges his staff into the water and turns the river Nile to blood.

[1:19:17] Philip LaZebnik: Which is gross. And Hotep, who is the priest, then is able to do the same thing, right? And it becomes kind of this tit for tat of who's God is stronger.

[1:19:31] J Scott Lapp: And what we found in researching was that magic was a big part of their society, and the priesthood used magic in order to convince the public that they had godly powers.

[1:19:44] Philip LaZebnik: Wow, really? So they were manufacturing miracles, essentially.

[1:19:49] J Scott Lapp: Exactly. He does this trick on the barge, which is where this moment takes place at the plagues, where after Moses has plunged his staff into the water and it's turned to blood, he takes a cup and he pours and goes, look, I can do the same thing. So who's telling you the truth? And he pours a cup of water into a chalice and the chalice turns to blood. And it's all a trick on his end, but he's trying to make sure that he holds on to power and that he, that Moses' conjuring of God and of the plagues doesn't, kind of, overtake the public's confidence in him. This gives away to the plagues. Very famous. Ten plagues, locusts, to hail that turns into fire, to boils appearing on people's skin, hail, locusts. Yeah, not great stuff. And the plagues do have, do take a toll on Moses, who is empathetic enough to realize that the slaves needed to be freed.

[1:20:46] Philip LaZebnik: If you think that that same person wouldn't be affected by this much suffering, you're crazy.

[1:20:52] J Scott Lapp: Exactly. And there's a very human aspect to it, too. Throughout the plagues, he goes back to his mother and sees her in Egypt and she is, kind of, on her deathbed and is like, how can you do this to me? How can you do this to people that you love, that loved you, that raised you? And that all, I think, takes a huge effect on him, is that the plagues that he has brought on through God is taking a toll on everyone and even family that he loves.

[1:21:20] Philip LaZebnik: Hmm. And he's like, can we get that Through Heaven's Eyes song again to help me see things?

[1:21:29] J Scott Lapp: I am losing perspective. So then he sings this song, For the Rest of My Life, which is a very vulnerable moment, I think, for him. And has such an interesting ending, a really, like, dissonant note at the end, which is like a big question mark.

[1:21:50] J Scott Lapp: I think the beauty of this show is that it really does resonate with so many people on different levels, and I think that’s what makes it so special.

[1:22:20] Luke Brady: Absolutely, and I think the themes of family and faith are universal. They really connect with audiences, regardless of their background.

[1:22:50] Christine Allado: And the music! The music is just so powerful. It elevates the story and brings those emotions to life in a way that’s unforgettable.

[1:23:20] Philip LaZebnik: I agree. The score captures the essence of the characters and their journeys. It’s a blend of the familiar and the new, which makes it exciting for both fans of the film and newcomers.

[1:23:50] J Scott Lapp: It’s interesting how the adaptation has allowed us to explore these characters in more depth. We get to see their motivations and struggles in a way that the film couldn’t fully capture.

[1:24:20] Luke Brady: Right, and I think that’s what makes the stage version so compelling. It’s not just a retelling; it’s an expansion of the story.

[1:24:50] Christine Allado: Exactly! And the choreography adds another layer to that. It brings the story to life in a dynamic way that engages the audience.

[1:25:20] Philip LaZebnik: The visual storytelling is just as important as the music and dialogue. It creates a holistic experience for the audience.

[1:25:50] J Scott Lapp: And let’s not forget about the design elements. The set and costumes really transport you to ancient Egypt, which enhances the overall experience.

[1:26:20] Luke Brady: Yes! The attention to detail in the design is incredible. It really immerses you in the world of the show.

[1:26:50] Christine Allado: I think that’s what makes it feel so epic. You’re not just watching a story unfold; you’re part of it.

[1:27:20] Philip LaZebnik: That’s the goal, isn’t it? To make the audience feel like they’re on this journey with the characters.

[1:27:50] J Scott Lapp: Absolutely. And I think the emotional arcs of the characters resonate with everyone, which is why the show has such a strong impact.

[1:28:20] Luke Brady: It’s all about connection. When the audience can relate to the characters, it makes the experience that much more powerful.

[1:28:50] Christine Allado: And the message of hope and perseverance is something we all need, especially in times like these.

[1:29:20] Philip LaZebnik: Yes, it’s a reminder that even in the darkest times, there’s always a light at the end of the tunnel.

[1:29:50] J Scott Lapp: That’s what makes this show so relevant, no matter when it’s performed. It speaks to the human experience.

[1:30:20] Luke Brady: And I think that’s why audiences are so drawn to it. They see themselves in the story and the characters.

[1:30:50] Christine Allado: It’s a beautiful thing when art can reflect life in such a meaningful way.

[1:31:20] Philip LaZebnik: And I’m grateful to be a part of that. It’s a privilege to tell this story and to connect with people through it.

[1:31:50] J Scott Lapp: Well said, Philip. I think we’re all excited to share this journey with audiences when we can.

[1:32:20] Luke Brady: Definitely. We can’t wait to see their reactions and to hear how the story resonates with them.

[1:32:50] Christine Allado: It’s going to be an incredible experience, and I know we’re all looking forward to it.

[1:33:20] Philip LaZebnik: Here’s to hoping we can bring it back to the stage soon!

[1:33:50] J Scott Lapp: Absolutely! Thank you all for sharing your insights today. It’s been a pleasure discussing this beautiful show with you.

[1:34:02] Luke Brady: Thank you for having us!

[1:34:12] Christine Allado: Yes, thank you!

[1:34:22] Philip LaZebnik: Thank you!

[1:34:34] J Scott Lapp: Until next time, everyone!

[1:34:44] Luke Brady: Bye!

[1:34:56] Christine Allado: Bye!

[1:35:06] Philip LaZebnik: Bye!