Children of Eden

Following last year’s epic and NODA award winning production of “Les Miserables”, opting to stage a biblical story with much poetic licence was either an inspired or a foolhardy choice.   It gives me great pleasure to reveal that the choice of “Children of Eden” was definitely an inspired one.

YESOS had certainly opted to jump in the deep end with a cast of fully sixty young performers who put the whole show together in a little over one week of concentrated rehearsals. The dedicated production team of Fiona Kuhn-Thompson (Director), Elanor Bond (Asst. Director), Martin Sargeson (Musical Director) and Alys Dreux (Choreographer) have worked a near miracle, though not of a biblical kind.

Based, albeit loosely, upon the first nine chapters of the book of Genesis, this Stephen Schwartz show is now thirty years old, having received its British premiere in the West End in 1991, where following poor reviews partly caused by the worldwide reduction in tourism following the Gulf War, it closed after three months.  Consequently it never had a run on Broadway.

Playing the “God” role of Father at the age of seventeen, Hugh Blayney stamped his authority on the role immediately and gave a mature performance at which to marvel. Oozing stage presence he spoke and sang with great clarity and passion throughout.

Jacob Carter played both Adam and Noah and, together with Charlotte Coe as Eve and Mama Noah, and alongside Hugh, were three cornerstones of this thrilling production. It is abundantly clear that both Jacob and Charlotte are gifted performers and singers. From their programme biogs. both, it appears, are intent upon training for the profession. Both are blessed too with good looks, which will certainly be in their favour and I sincerely wish them well in their chosen path. If anyone deserves success it is certainly these two young paragons.

The seven Snake performers were Mariella Atterbury, Elena Brammar, Alice French, Fenella Machin, Jamie McFadden, Freya Rogers and Piers Spicer.   Mariella as the Head Snake did well, spoke clearly and, together with all the others played this pivotal role with truth and skill. A plus, too for the red and green snake design, which really caught the eye.           

Ewan Murphy played Cain with verve and gave this unhappy character a realism and aggression that was most remarkable. Daniel Thynne as the rational younger brother Abel brought a skilful contrast to the headstrong Cain. He handled this less rewarding role with great nuanced care and together the two boys portrayed all the important differences between their wholly differing characters extremely well. The killing scene worked smoothly and was a hit in more ways than one!

Giles Carden brought a winning energy to Young Cain and Wesley Kent-Hargreaves as Young Abel is one to watch. His Gavroche in last year’s Les Mis really stole the show and we are clearly seeing an emerging star with a burgeoning talent.

Alex Moroni has a natural charisma and gave Japheth a dynamic and energetic persona; an important role in assured hands. Louisa Grinyer, at only fourteen, I thought an outstanding performer as Yonah and I have noted her name for future reference. She possesses the maturity of a seasoned adult actress and is also blessed with a singing voice of real quality. Her Yonah was one of the show’s highlights for my money and I predict a big future for her.   

Ross McFadden and Sam Sanders did well in the smaller roles of Ham and Shem respectively and gave sterling support. The same comments apply to Holly French and Ruth Cheek as Aphra and Aysha.

Solo Storytellers were Tally Goss, Louise Harrington, Freya MacTavish and Charlotte Roberts. They were an integral part of the production, speaking and singing with a clarity beyond their tender years.

Earlier I mentioned three cornerstones – the fourth one was certainly the thirty six strong company of storytellers who were such an important part of this sterling production. They showed a certainty of touch, vibrancy and aplomb way above what one may reasonably expect from so young a company. The dance routines under the experienced choreographer Alys Dreux were sure-footedly carried out.   There was a zest and joyfulness about the whole production that was actually rather wonderful. This is the magic that such dedicated and young people can provide.

The staging for such a large company was top class and the inspirational director Fiona Kuhn-Thompson, ably assisted by Elanor Bond  have obviously slaved over this show. The characters were very well cast, all of them, and the pace of dialogue was well above the usual standard for such young actors and actresses.

Wisely choosing to dispense with any cumbersome set which would certainly have cramped the large company and slowed the production, the director opted for a central platform with flowers decorating the front, with steps left and right.   This also doubled as the Ark in Act 2 with the accompaniment of sound and lighting effects for the coming of The Flood giving a realistic feel. There was also another long platform along the back of the stage. Large red papier mache apples hung down throughout, and the Tree of Knowledge in Act 1, along with a grass flooring effect, portrayed a very fine Garden of Eden.

Not having previously seen the show, I was pleasantly surprised at the general standard of the written music. Musical Director Martin Sargeson used his seven piece band to great effect – I thought the percussion especially was truly outstanding – to its fullest effect, always supporting, but never overpowering the young singers. A great deal of the singing was good or very good, but I will highlight the following in Act 1:  Grateful Children, The Spark of Creation, A World without You, The Mark of Cain, Children of Eden, Act 2: Generations, Stranger to the Rain, In Whatever Time We Have, Sailor of the Skies, The Hardest Part of Love, Ain’t it Good, In the Beginning.

It was heartening to hear such harmonies in a modern show where usually much is sung only in unison. If your MD was hard on you during rehearsals, as the best ones often are, the benefits were most evident here.

I must commend the sound quality and clarity of the whole show under Ollie Cross which were impressive, not least in “The Mark of Cain” scene.    Costumes were basic in the main, but worked well, being “colour coded” for the various story telling groups portrayed.   Father’s white robes were eye-catching with the company’s being most effective.

A commendation for Claire Bird on hair, having the girls with long hair but the boys mainly with short hair made a strong statement.    Makeup was also good, helped by the ability of young Hugh to grow a manly beard of his own! This was the very first point I noted down.

A word of praise for the top quality programme with clear cast photos and biogs. and with well written articles by Alys and especially Helier Dreux who provided a well researched and fascinating historical perspective about the show.

In conclusion, I want to congratulate YESOS and everyone involved, but especially the superb production team, who have put so much of their time, energy and huge abilities into providing this emotionally moving and vibrant show;   a fitting follow-up to the award- winning Les Mis.

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