Stephen Schwartz is known for writing the music for Pippin, Godspell, Disney's Hunchback of Notre Dame, and Disney's Pocahontas. Oddly enough, his show Children of Eden (with book by John Caird) is less known than most of his work, and yet stands out as his masterpiece.

Children of Eden is a retelling of the book of Geneses, focusing on three primary stories: Adam and Eve, Cain and Abel, and Noah's Ark. Of course, the show does have its own twist to each story and should not be considered a "religious" musical. The themes that are approached are more about humanity and parent-child relationships than they are about a religious interpretation of God. Arvada Center's production holds true to this vision by keeping the themes in the forefront every moment of the show. Arvada's production is particularly blessed by a number of very strong actors who portray the conflict between parent and child.

James Alexander brings life and dimension to the character of Father, which is admirable when taking into account the particular difficulties inherent to the role. Consider for a moment what a challenge it must be to take on the role of God. In the Bible, God takes on the characteristics of fearful omnipotence, yet merciful father. Vengeful creator, yet forgiving comforter. To some, God is a sign of strength, power, and supremacy. Yet, he is just as easily recognized as the epitome of meekness and humility. With such conflicting perceptions of God, any actor faces a great obstacle in creating a workable character. Alexander surmounts these difficulties and also adds a new layer of personality to God (if that is possible). Alexander's bright-eyed enthusiasm during "Let There Be" catches audience members off guard. His character is not remote, but rather, by showing a sort of innocence and excitement at being a first-time father, he makes God more accessible to the audience. This becomes all the more important as we see that the character of God is actually going to be the protagonist who undergoes the hero's journey.

Alexander's range of acting is healthily stretched in this role. His vitality and charm in the opening and in the garden are disarming. The life that he breathes into each moment captures the beauty of the music supporting him. Yet, he has no trouble readily exploding into a fiery God of wrath during "The Expulsion." He is then tried again when within one scene with Cain and Abel, he must play both affectionate Grandfather and callous Patriarch. His role is ever burdened with the balance between warmth and wrath.

In contrast to Alexander's flair for character, Gabrielle Goyette in the role of Eve fails to show the breadth of her character. Eve seems one-dimensional in her approach to every conflict and turning-point. Also, Goyette dominates the vocals in her duets with Steven Bogard (Adam), leaving her partner in the dust of her belting. The music is gorgeous and moving, but with the balance being so awry, it is hard to enjoy the harmonies which build the emotion behind their relationship. Goyette does show great talent in some of her solo work (particularly "Ain't it Good"), but other times her frequent breaths and abrupt breaks upset the flow of the piece. What is very interesting is in the second act, when Goyette plays Noah's wife, she staggeringly out-performs her first act presentation.

The show is composed of steadily mounting tensions within relationships. As soon as Adam is forced to choose between Eden and Eve, the strain begins and not until the last minutes of the show is that pressure finally released. The conflict within the show is constant and very intense. The plot is a collection of breakpoint choices visited one after another. There is barely enough time between them to settle before the moment has come again to choice one path and turn from another. The choice of God vs. Eve, blind faith vs. human folly, brother vs. parents, forgiveness vs. pride, obedience vs. charity, love vs. death - they follow on the heels of each other to continually challenge the viewer's judgment.

Eduardo Rioseco (Cain), Gabrielle Goyette (Eve), Arthur W. Marks (Abel)

Of all these stories filled with struggle, the most compelling of the show has to be that of Cain and Abel. Eduardo Rioseco plays Cain and finds a way to bring sympathy to the first villain in history. Instead of simply playing a typical disenchanted youth, Cain shows levels of both devotion and devastation. His unfulfilled hope is finally shattered with Father's visit to the brothers, and Cain is set upon the path of his fateful curse. But his love for his brother Abel is still strong and resilient. Even after being rejected by his brother once, Cain still desperately wants to share his "bewildering discovery" with his brother. Abel, played by Arthur W. Marks, shows a level of childlike innocence that makes him unbelievably likeable (a quality that is distinct enough to make me remember him from his performance of Honk! over a year ago) Marks' voice, with its clear bright tones, is in starch contrast to Rioseco's '70s pop sound (and look may I add; see photo). The combination of these two performers creates a chemistry that would make any scientist jealous. Their contrast and complement to each other is in perfect balance.

Both performers provide solo excellence in other roles during the second act as well. Marks graces the audience with his gifted voice in a feature during "Generations," and Rioseco comes back to again become the center of a fierce conflict in his role as Japheth, Noah's youngest son. Rioseco shares one of the most moving moments of the show with Michelle Liu Coughlin (Yonah) in their duet "In Whatever Time We Have." This piece is sure to be the most enduring number of the show, as it is the most stunning during the performance. The breathtaking passionate cry for death before parting captures the beauty of Shakespearean tragedy in music.

In Children of Eden, Troy Rintala has a chance to show his choreographic versatility as compared to his earlier Arvada Center production Crazy for You. Instead of the '40s style group tap numbers of Crazy, we get to see Rintala's skill in modern dance choreography. All of Children's dance is very grounded and instinctive. In the beginning, the dance has an almost childish impression to it, but after "The Expulsion," aggression, toil, and pain are reflected in the movement - a physical evolution that develops the conflict in the show. The most memorable moments of choreography are easily the seductive slithering of "In Pursuit of Excellence" and "The Return of The Animals." This spectacular display, using animal busts carried by dancers, is a sight not to be missed. As the stage fills with pairs of creatures preparing to enter Noah's Ark, the energy in the room grows to a thrill. The varying dance forms are an effective representation of the animals and a joy to watch. Walruses, cats, birds, and elephants all have their chance to make an appearance in "the world's most legendary zoo." Children of Eden gives Rintala a marvelous chance to show his skills not only in a different form of dance, but also in using movement to more directly impact the themes of the show. (Plus he was able to throw in a couple of appealing aerial lifts - something we don't see nearly enough in musical theatre).

Director Peter Flynn's staging of the show gives strength to the thematic drive that is at the core of Children of Eden. A very early example is the blocking while Adam is forced to choose. Visually he is always torn between Father and Eve, or he is facing them juxtaposed against each other. The conflict is perpetually before him until his final moment. Just after that, during "The Expulsion," Father's exit through the center (emphasized with lighting, sound effects, and choreography) has a sensory impact on the audience that shakes the nerves. Using ensemble members to hit set pieces in moments of mounting suspense is an effective auditory tool that is used more than once. In the second act, Steven Bogard (Adam) returns, but this time as Noah, the family patriarch. Goyette returns as Noah's wife, the mother. Marks and Rioseco come back as sons. This reuse of the same actors is another important addition to this show driven by theme - the cycle of family conflict.

Flynn's use of Father in the background, silent and unmoving, during Noah's rising struggle is an especially poignant decision when considering one of the major themes of the show - the choice is ours, look within. Also, in the last moments of the show, Shem offers his hand to Yonah in apology and is accepted in pardon. Though it is not the main focus on the stage, it is important again for supporting another major theme - forgiveness.

Though the show is stronger in performance than in production elements, the technical aspects of Children also shows strength. The set (designed by Rod A. Lansberry) is tremendously functional. With numerous levels and a rotating stage including varying levels as it moves, the set lends itself to every situation for blocking and choreography. The color choice is also useful, first by showing Eden as a clean and unscathed place; second by allowing the lighting (designed by Gail J. Gober) to transform it into everything else it needs to be. The Tree of Knowledge and Noah's Ark are a bit unsatisfying. They are almost flat and empty enough to be humorous, but not quite. There were a number of sound issues during the beginning of the performance I saw, but they were corrected before long, and the use of reverb and specialized mixing for the voice of God and the memory of children made up for early blunders. Lighting is excellent in its integration with sets and dance. The bounce from the costumes and set pieces makes for a number of striking effects. Also, the water in front of the Ark is a very nice touch.

Any small failings are easily ignored in this show where theme, tension, and music quickly envelope you in the beauty that makes theatre a lasting art form. Children of Eden is not only a display of Arvada Center's distinction, but also of how theatre can stretch minds and tap emotions.

Children of Eden closed Dec 29th. Arvada Center's next show is The Man Who Came to Dinner Visit the Arvada Center online at www.arvadacenter.org

Photo: P. Switzer

-- Tony Burnett