It's a tale as old as (biblical) time, yet the cast of "Children of Eden" reinterprets Genesis with a simplistic style and compelling characterization.
Tonight, Torn Ticket II presents the Steven Schwartz musical that departs from the traditional Bible story, in order to focus on the individuals behind the parable.
Starring God, the play opens with a tumultuous creation sequence, aptly titled, "In the beginning"; though it echoes the first lines of the Bible, the story takes an unexpected departure from its divine basis. Here, though Eve is indeed the first to fall from grace, and attempts to deceive Adam, she is unable to lie to him. Adam, more compelling than in the Bible, is no dupe, and Eve is not ashamed. The line is drawn, and Adam must make the choice, for good or ill, between adulthood with his wife or eternal childhood with the Father.
This theme of choice continues throughout the play, as Adam and Eve's sons are soon faced with the choice between innocence and independence. Though audiences will recall how Cain and Abel turn out, the characters are developed in this production so that the tragedy is more absolute. As the story unfolds, the family's strong bonds seem to nearly deliver it from the evil that awaits, but each successive generation inherits the sins of the last. Sunday school was never this fascinating.
Director Mike LaFazia considers the familiar story a vehicle to reach other themes, ultimately considering the Bible to be little more than a frame of reference. "This show is about people who just happen to be Bible characters," LaFazia said, "It's about fathers, sons, family and community."
God's relationship with his children, whose creation was inspired from a dream in which he "wasn't lonely anymore," is portrayed with equal yearning on each side. God is present but often invisible to those who call. The abandoned children - and the abandoned father - continually seek and repel each other. Freshman Michael Taub, as God, approached the role by thinking of his own father. "I'm not that religious, and I don't think that has all that much to do with it," Taub said.
The costumes reflect the gradual loss of innocence. In the beginning, there was light - and white. The color of purity infuses the production while Adam and Eve enjoy perfection in the garden. Each generation following their expulsion from the Bible introduces more color and pattern to their garb, as life becomes more complicated and less ideal. As the basic family reincarnates itself throughout the play, the color scheme changes accordingly.
The stage is stark, though ensemble cast members take on the roles of birds, beasts, water and trees. The director had his own vision of creation. "We wanted to create as much as possible," LaFazia said, "Why build a big set if you can make it out of people and emote something?"
That emotion infuses the play. The ensemble cast approaches each song with an enthusiasm and choreographed disorder that resembles life itself. Requisite spiritual music elements sneak in, but are appropriate, allowing the cast to showcase their considerable vocal skills. Freshman Samantha Karlin, as Yonah the servant, steals the second act with her portrayal of one of the race of Cain.
But curses are ultimately forgiven, by God, and by the people who enforce them against each other. Freshman Rebecca Schoffer, as mother Eve and Mama Noah, weaves together the children of Eden with stunning vocal skills and impressive depth in the role of the first woman and wayward child.
"I view Eve as just like any mother. She hopes to love all of her children, but she's really just a child herself," Schoffer said.
