It’s big. Seriously big. When you walk into the Dominion Theatre, the scale of the stage hits you immediately, reminding you that The Prince of Egypt West End wasn't ever going to be a quiet, intimate affair. It was meant to be a spectacle. The 1998 DreamWorks film is legendary, right? It has that Hans Zimmer score and Whitney Houston and Mariah Carey powerhouse duet. Translating that kind of animated magic into a live theatrical experience is a massive gamble, and honestly, the results were as polarizing as they were visually stunning.
People expected a carbon copy of the movie. They didn't get that.
Instead, the West End production, which opened in February 2020 and faced the absolute chaos of the pandemic, tried to carve out its own identity. It wasn't just about the Red Sea parting; it was about the sibling rivalry between Moses and Ramses. The production leaned heavily into the "miracle" of human choreography rather than just CGI-style practical effects. Sean Cheesman’s choreography didn't just move the actors; the actors became the scenery. They were the fire. They were the river. They were the desert. It was bold.
Making a Legend: The Road to the Dominion
Bringing The Prince of Egypt West End to life involved a massive creative team. Stephen Schwartz, the man behind Wicked and Pippin, returned to his original songs from the film but added ten new numbers. That's a lot of music. Some of it worked beautifully, like "Footprints on the Sands," which gives Moses more interiority. Other songs felt like they were filling space. It's a common issue with movie-to-stage adaptations where the pacing of a 90-minute film hits a wall when stretched into a two-and-a-half-hour musical.
The cast was led by Luke Brady as Moses and Liam Tamne as Ramses. Their chemistry was the heartbeat of the show. You could feel the genuine affection turn into bitter, duty-bound resentment. It’s a tragic story. Two brothers who love each other forced to tear a nation apart because of gods and kings.
Philip LaZebnik, who wrote the original screenplay, handled the book for the musical. He kept the core beats but deepened the political tension. The show didn't shy away from the brutality of slavery in ancient Egypt, though some critics felt the tone occasionally veered too close to a Sunday school pageant before snapping back into a high-octane Broadway-style belt-fest.
Then there was the set design by Kevin Depinet. It used these massive, shifting stone-like slabs and incredible projection mapping. But the real star was the ensemble. They stayed on stage for huge chunks of the show, using their bodies to create the illusions of a burning bush or the churning waters of the Nile. It was physically demanding. Exhausting to watch, even.
The Music: Beyond "When You Believe"
Let's talk about the elephant in the room: the soundtrack. Everyone goes for "When You Believe." It’s a classic. In the theatre, it’s the climax everyone waits for. But the West End production tried to give the other characters more of a voice. Tzipporah, played by Christine Allado, got more to do. Alexia Khadime as Miriam was a vocal powerhouse.
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The new songs shifted the vibe. While the film feels very "epic cinematic," the stage show feels more "theatrical folk-pop."
- "Deliver Us" remains the strongest opening in musical theatre history. Period.
- "Through Heaven’s Eyes" became a massive, joyous dance break that shook the floorboards.
- "The Plagues" was revamped to be more of a direct confrontation between the two leads.
Interestingly, the production used a massive orchestra. In an era where many West End shows are thinning out their pits to save money, The Prince of Egypt West End kept a lush, full sound. It mattered. You can't do a story about the Exodus with a synthesizer and a drum machine. You need the brass. You need the strings.
The Pandemic Pivot and the Digital Legacy
The timing was cursed. Opening just weeks before the UK went into its first lockdown, the show had to shutter almost immediately. It was a heartbreak for the company. However, they did something smart. They filmed it.
Unlike many shows that just vanish into the ether after their run ends, The Prince of Egypt West End was captured at the Dominion Theatre. This wasn't just a "bootleg" or a shaky archival recording. It was a multi-camera, high-definition capture. Because of this, the show found a second life on streaming platforms and digital rental.
It changed the conversation. People who couldn't get to London—or were too scared to travel in 2021—could finally see what the fuss was about. The filmed version actually highlights the choreography better than some of the nosebleed seats in the theatre ever could. You see the sweat. You see the intricate way the dancers' bodies weave together to form the Chariot race.
Why Some People Hated It (And Why Others Loved It)
Reviews were... mixed. That’s being polite. Some critics felt the "physical theatre" elements were a bit too much like a modern dance recital. They wanted more literal magic. If you're going to show the Red Sea parting, you want water, right? The show gave you dancers and silk and light. For some, that was a stroke of genius. For others, it felt like a budget-saving measure on a show that clearly had a huge budget.
There was also the "white-washing" controversy that had haunted the film and followed the stage production. While the West End cast was significantly more diverse than the 1998 voice cast, the conversation around how we depict ancient Egypt in musical theatre remains a prickly one. The production worked with consultants to try and ground the aesthetics in something more authentic than "Hollywood Egyptian," but you can never please everyone when dealing with religious and historical iconography.
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The script also struggled with the ending. The film ends on a soaring note of freedom. The musical tries to find a more nuanced, bittersweet resolution between Moses and Ramses. It’s more "human," but maybe less "satisfying" for an audience looking for a traditional hero's journey.
Behind the Scenes: The Technical Grind
Running a show of this size is a nightmare of logistics. You had a cast of over 40. The costume changes were frantic. Ann Hould-Ward’s designs had to be functional enough for the heavy choreography but look like they belonged in the 13th Century BC.
The lighting design by Mike Billings was crucial. Since the set was relatively minimalist in its physical structures, light did all the heavy lifting. It defined the heat of the sun, the darkness of the plagues, and the ethereal glow of the burning bush.
- Over 380 lighting cues.
- Dozens of hand-crafted props.
- A sound system designed to handle both whispers and the literal voice of God.
Working in the Dominion is also a challenge. It's one of the largest theatres in London. If your show doesn't "fill" the space, it feels empty. The Prince of Egypt filled it with noise and movement, but that intensity isn't for everyone. Some theatergoers found it overstimulating.
The Verdict on its West End Run
The show officially closed in January 2022. It didn't have the ten-year run of Wicked or Les Mis, but it left a mark. It proved that there is still a massive appetite for "Epic Theatre." It also served as a bridge for DreamWorks Theatricals, showing they could compete with Disney on a technical level.
Was it perfect? No. The first act is significantly stronger than the second. Some of the new songs are forgettable. But the sheer ambition of it is something we don't see often enough. In a West End filled with jukebox musicals and small-scale revivals, seeing someone swing for the fences with a giant, philosophical, dance-heavy religious epic was refreshing.
If you’re looking to dive into the world of this production now, the filmed version is your best bet. It’s a fascinating case study in how to adapt a beloved animated property without just doing a "Disney on Ice" version of it. It’s grittier, weirder, and much more focused on the psychology of its characters than the movie ever was.
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How to Experience the Show Today
Since the physical production has packed up its pyramids, fans have to look elsewhere. But the "afterlife" of this show is surprisingly active.
1. Watch the Pro-Shot
The filmed version is available on most major VOD platforms (Amazon, Apple, etc.). It’s the best way to see the original West End cast, including Luke Brady’s incredible performance. It captures the scale better than a soundtrack ever could.
2. Listen to the Cast Recording
The West End cast album is on Spotify and Tidal. Pay close attention to "Simcha." It’s a song that wasn't in the movie, and it captures the community aspect of the story beautifully. It's one of the few times the show feels truly grounded and joyous.
3. Compare the "Princes"
If you're a theatre nerd, it’s worth watching the 1998 film and the West End version back-to-back. Look at how they handle the "Death of the Firstborn." The film uses a chilling, silent wind. The stage show uses a combination of light and movement that is far more visceral and unsettling.
4. Keep an Eye on Regional Licensing
Now that the West End run is done, the rights are slowly becoming available for larger regional theatres. It’s a difficult show to pull off because of the choreography requirements, but high-end regional houses will likely start tackling it soon. Seeing how a smaller theatre handles the "Red Sea" without the Dominion’s resources will be fascinating.
The legacy of The Prince of Egypt West End isn't just about ticket sales or five-star reviews. It’s about the fact that they actually tried to make something new out of a story everyone already knew. They took the "animation" out and replaced it with human muscle and bone. Whether you think it worked or not, you have to respect the hustle. It was a massive, messy, beautiful swing at the fences.
For those interested in the technical side of theatre, studying the lighting plots and choreography of this show is a masterclass in using "human scenery." It moved away from the literalism of The Lion King and toward something more abstract and modern. That influence will likely pop up in other big-budget adaptations over the next decade.
Basically, it was a moment in time at the Dominion that we won't see replicated for a while. It was the last of the "mega-musicals" to open before the world changed, and it fought like hell to stay relevant through the reopening of London’s theatre land. If you missed it live, go find the recording. It's worth it just to see how they turned forty people into a river.