Most folks that go to the theater must contend with parking. Parking at the Ferguson Center is no sweat. There is a nice garage that is conveniently located at the rear of the facility and in easy walking distance. Walking is another matter. A pedestrain-hunting tram prowls up and down the same sidewalk used by more ambulatory patrons. It's not unusual to have to abandon the right of way in order for the double seated golf cart to silently glide past. Strange. I always thought people traffic was protected from vehicular traffic when on a sidewalk! Where does the word 'walk' come in when discussing the use of a tram? Might I suggest a cart path? My advice is to add sideview mirrors to your accoutrements (how the hell do you spell that?)when walking from the Ferguson parking garage to the theater lobby...for the sake of self preservation.

As one approaches the lobby side doors (at the end of the interlocking red brick walk) tickets are required for entry. I sheepishly asked where I might find the Will Call window and was guided by a most accommodating usher through and then out the front of the lobby, around the front of the building and to ticket windows on the opposite side. Confusing? I'm not sure there's a sidewalk (with or without golf cart) leading around the front of the theater lobby from the garage. If one approaches from the front (where there is no parking garage)the ticket booth is in the perfect location.

Our tickets were scanned at the door and in we went. Once inside the grand lobby we headed for our seats. The first usher glanced at our tickets and told us to move into the theater where someone would help us with seating. If he had no intention of seating us what was his purpose...a living doorstop? Since the usher didn't take us down the aisle, nor did we run into another similarly dressed guide we had no problem locating Row H Center Orchestra seats 105 and 106 on our own. As we sat and the hall began to fill we watched half a row stand in order to allow a person to sidle his way over lap and knee to reach his final resting place...the center seat. Once the group finally settled another string of people across the room would rise and the process would repeat. It seemed a type of architectural choreography. I could visualize the designer chuckling, seating chart in hand.

Once eveyone was seated (a tad after 8pm) the lights went down and we were treated to Aida's rousing overture. Up went the curtain revealing an eerily lit museum setting consisting of Egyptian statuary and the entrance to a crypt a with a walkway above. A female form in ancient garb (Princess Amneris) sings "Every Story Is A Love Story" from the walkway in semi-darkness as the cast enters joining the number. Abruptly the curtain came down bringing the singing to an awkward halt . Were we just treated to the shortest first act in theater history? In a very professional manner it was announced that technical difficulties had forced them to halt the performance and that once things were repaired the performance would start anew. In no more than 5 or 10 minutes, after crew members were seen running to and from backstage, the house lights went down. This time the curtain rose over a fully lit stage with performers that could be seen clearly and heard beautifully. On with the show!

Verdi's Aida and that of Sirs John and Tim do share a common thread in story (I do mean a thread... not much more) but throughout the score during intros, outros and even in the quietest moments the EJ style piano pounding began to gnaw at the back of my neck!

Somewhere along the line we should be able to forget the composer and lose ourselves in the production.

I was curious as to whether Big League Theatricals has multiple touring companies of Aida on the road. None of the performers site Broadway experience nor union standing in their Playbill bios. Some production companies specialize in non union tours which makes it easier for performers without union credentials to get jobs (one issue that led to a strike a few years back). Don't get me wrong, most of the people on stage had good reason to be there.

The singing was strong as was the dancing throughout the ensemble. Five performers list getting their BFA's from the Alvin Ailey/Fordham University. Two or three mention dancing with or attending the Ailey School. The choreographer, Sarita Allen, worked as principal dancer with Alvin Ailey for 17 years and his influence was in evidence on the stage.

The story revolves around the ill fated love between Aida, the enslaved Nubian Princess and Radames, the handsome Egyptian Commander betrothed to Amneris, Pharaoh's daughter.
As one can guess most of the big numbers go to the lovers, but one memorable tune, "My Strongest Suit," went to Amneris and with it Leah Allers damn near stole the show. Her comedic talents were wonderfully showcased in the piece and her voice an aural delight. She brought to the character just the right balance of pathos and comedy. When, in the end, she learns of Aida and Radames' love she allows them to be entombed together so they may share their final moments . There were sniffles all around me to such a degree that I thought some ancient pollen must have blown out of the crypt.

Casey Elliott, an audience favorite as Radames, managed to remove his shirt/jacket/tunic at the drop of a hat causing a similar audience reaction to what a tenor might receive when finishing a rather difficult passage in Verdi's opera. The lad is an able performer whose boyish, anglo-saxon good looks and chiseled body did little to make me believe he was an Egyptian, but left no doubt of his theatrical pedigree. He carried the role with his strong, clear voice and emotion rich performance.

The cover girl in the show, Marja Harmon, gave to Aida an over the top performance that made me think less Broadway and more Disney theme park.