By Liz Christensen
Artaban, the Other Wise Man, the Musical, produced by Under the Sun Productions, Inc, runs in Millcreek this weekend only and is worth any last-minute adjustments to your schedule to see it. An original musical by Daniel Carter, this previously-staged concert has been redeveloped into a full-fledged musical theatre adaptation of the short novel The Other Wise Man by Henry Van Dyke. The story follows the Magi Artaban (Daniel Lofgren) on his way to see and worship the Messiah after the appearance of a bright star in the east. Unlike his fellow wise men, the three famous in song as Kings of the Orient, Artaban arrives in Bethlehem after Mary, Joseph and Jesus have fled to Egypt. He forsakes his leadership of the Magi as this seemingly simple journey becomes the quest of his lifetime. Prepared with three gifts for the babe–sapphire, ruby, and pearl—Artaban pursues the Messiah for many years, always in his footsteps but never catching up to him, and encountering a large cast of characters along the way.
The story is presented to the audience by two homeless, modern-day narrators, Lizzy (Emily Wells) and Mike (Danny Eggers.) Their frame story feels contrived, but Wells and Eggers are such powerful singers, so well suited to performing together, and so seamlessly integrated into the narration of the story that they are indispensable to the emotional impact of the performance. Lofgren, too, is a pleasure to listen to all night long. His crystalline voice is simultaneously silky and strong. Lofgren performs with an energy and sincerity that endear him utterly. Giving added intrigue to the story are the nefarious characters of Rashne (Russell Maxfield) and King Minnoch (Eric McGraw.) Maxfield’s solid performance of the strong-willed, almost wholly black villain, is tinged with a small glimpse of sympathy and plenty of justification and bitterness. McGraw’s playful, villainous vanity provides an interesting companion to Maxfield’s angry revenge, and both characters’ selfishness stands as a stark contrast to Lofgren’s blissful charity. McGraw’s rendition of “Saving Those Poor, Lost Souls” in Act One, and Maxfield’s reprisal in Act Two, add compelling dimensions to the trajectory of the story just as you think you have the path of the show pegged. As King of Egypt, McGraw brings Act One to a striking end.
In fact, it is Act One that packs most of the powerful punches of the show. Katrina Nelson as Sariah is angelic in her performance of “Persian Lullaby,” and sings with her whole soul in “He Looked at Me.” There is a beautiful ensemble moment in Act One where the whole company imbues the music with such authenticity and sincerity that their heartfelt performance is arresting and stirring. I was struck by the beauty of their generosity. I felt as if each cast member was sharing his or her heart with the audience, not for applause or after-show compliments, but because each felt the spirit of the words and the music were the greatest gifts that could be given to us. On the emotional flip side, my companion for the evening remarked that the intense moments with the Roman soldiers “made [her] soul scream.”
Other performances of note are given by Mallory deForest as Artaban’s wife, an ethereal singer in her Act I solo, and by Catherine Nelson Bohman as Rachel, who is radiant in her simple sweetness. Shelby Maughan as Philo provides a well-needed emotional respite in a perfectly calibrated bit of comedy in the middle of the show. John Philpott as Darius exemplifies a wise, fatherly figure in his wholesome, deep and tempered voice. There is not a weak voice to be found onstage. Though it was often difficult to distinguish the lyrics, the intentions and emotional tones of the story are crystal clear. Sumptuous harmonies pervade the evening. Composer Daniel Carter has created a lovely musical experience both in the individual numbers and in their collective effect; and this talented cast, under the musical direction of Mindy Pack makes that music soar. Accompanied solely by a piano, expertly played by Stephanie Bare, the music doesn’t feel thin, but this is a performance wholly deserving of a fully orchestrated accompaniment.
There are many beautiful themes in Artaban, but particularly relevant are the gentle lessons presented by Tsiporah (Mindy Pack) in Act One’s “Be the Answer,” lyrically presenting the moral of the story. Refrains of “You are in my heart and in my eyes,” float meaningfully throughout the evening. The overt statements of theme and morality approach platitude in Act Two, but soaring melodies and earnest presentation continue to deliver. So much of what the production wants you to feel and discover succeeds in Act One, but some of that magic is diffused in Act Two. Artaban’s flashes of insight in Act Two, Scene Two in “Finding Hope” arrive too early and undercut the emotional impact his epiphany should have at the climax of the story. As much as I felt the frame-story to be unnecessary, the most influential moment of the evening for me was quietly embedded in Lofgren’s final entrance. He was so powerfully unassuming in this sweet and simple moment that I was struck by the humility of a true follower of Jesus Christ. A small thing, but it got to me in ways that perhaps only small and quiet things can.
Set Design by Tina Goldsmith made excellent use of gorgeous projections by Jaron Kent Hermansen as well as providing a variety of staging opportunities skillfully utilized by stage director Karen Dodge. Act One’s “All in a Day of my Life” is gracefully staged, and equally effective is the contrasting simplicity of the staging in “Persian Lullaby.” The wide use of the ensemble and placement of the ubiquitous narrators is effectively arranged with subtlety and artistic grace. Scene changes are fluid and quick.
Costume design by Karen and Galen Chatterton reflects the motifs of Artaban’s sapphire, ruby, and pearls by drawing on jewel tones, reinforcing the important thematic concept that the qualities the jewels represent are emulated in the experiences Artaban has with the people he meets. There are lovely textures, brocades, and details in all the major characters’ costumes.
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The production isn’t flawless, with limitations and difficulties for both lighting designer Graham Melton and sound designer Tino Saiki that one would expect when renting a junior high facility. Both Melton and Saiki mitigate some of the shortcomings that are distracting though uneven coverage of both lighting and sound pop up throughout the night.
Artaban, the Other Wise Man, the Musical is a benefit performance. Under the Sun Productions, Inc is a non-profit that uses art to support other charities and has partnered with Family Promise of Salt Lake to help local homeless families for this production. Make it a point to see the production this weekend; as a gift to homeless families in our community, to receive the performers’ gift of heartfelt art to you, and as a melodious reminder that the most important gifts we give this season are gifts of love and service.
Under the Sun Productions, Inc presents Artaban, the Other Wise Man, the Musical by Daniel Carter
Wasatch Junior High School, 3750 S 3100 E, Salt Lake City, UT 84109
November 29th thru December 2nd at 7:30 PM
Tickets: $15-20
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