Triune Entertainment\u2019s production of DreamWorks\u2019 The Prince of Egypt<\/em> delivers an emotional retelling of the Exodus story, balancing spectacle with sincere storytelling. While the musical carries the weight of its animated predecessor, the stage adaptation proves that the material can succeed in a theatrical setting when approached with reverence and imagination. Composer Stephen Schwartz<\/strong> (Wicked, Godspell, Pippin<\/em>) reunited with book writer Philip LaZebnik <\/strong>to rework the award-winning film into a two-act structure for the stage. Triune Entertainment is the first in the Washington, DC, region to produce the newly adapted production.\u00a0<\/p>\n Audiences are likely already familiar with at least one depiction of Moses, whether it be Charlton Heston<\/strong> from the film The Ten Commandments<\/em>, Larry the Cucumber from VeggieTales<\/em>, or DreamWorks\u2019 The Prince of Egypt<\/em>. Moses is a prime example of God calling unlikely people to become leaders, as Moses was referred to as being \u201cslow of speech and slow of tongue\u201d (Exodus 4:10), and he often struggled with his calling and frequently argued with God. Nonetheless, God used Moses to lead the Hebrews out of their enslavement in Egypt.<\/p>\n From the opening moments, the staging uses theatrical creativity to evoke locations rather than overwhelm with literal realism. Scenic transitions are fluid, allowing the narrative to move briskly from palace intrigue to spiritual awakening. Costume design by Amber Kiffney<\/strong> also plays a strong role in shaping the show\u2019s atmosphere, shifting from the opulence of Egypt\u2019s court to the warm earth tones as Moses begins to confront his identity and destiny.<\/p>\n At the heart of the story is the relationship between Moses and Ramses. The actors portray their brotherhood with warmth and camaraderie, which makes their eventual ideological divide far more tragic. Andreas Moffett<\/strong> as Moses commands the stage with his impressive vocals and warmth. The role requires both vulnerability and authority, and his performance navigates the balance effectively. Luke Tessier<\/strong> as Ramses demonstrates a full range of acting with his character arc from loving brother to conflicted Pharoah. Rather than presenting the characters as a simple protagonist and antagonist, the staging shows them to be sympathetic figures caught in circumstances larger than themselves.<\/p>\n The musical\u2019s score remains its greatest strength and the talented cast rises to the monumental task. The standouts of the night for me were \u201cDeliver Us\u201d led by Katy Benko Miner<\/strong> as Yocheved and \u201cThrough Heaven\u2019s Eyes\u201d led by Paul Correll<\/strong> as Jethro, both supported by an ensemble that understands the power of collective storytelling. The best-known song of the show is the inspirational \u201cWhen You Believe\u201d led by Jessica Foy Long<\/strong> as Miriam and Jennalee Allen <\/strong>as Tzipporah. Long and Allen\u2019s performances are consistently moving throughout the story, but their powerful voices are on full display in this number. The choral sections in particular are expertly performed, with credit to music director Catie Moore<\/strong> and vocal section leaders Mandy Viles<\/strong>, Katy Benko Miner<\/strong>, Paul Correll<\/strong>, and Doug White<\/strong>.<\/p>\n The large ensemble is utilized to great effect, both as large crowds and as smaller troupes throughout the piece. Large crowd sequences are choreographed with clarity and purpose, helping maintain narrative focus even during the musical\u2019s most visually busy moments. Instead of becoming chaotic, these scenes reinforce the story\u2019s scale while still directing attention to the characters driving the action. My favorite aspect of this production is the moments designed by choreographer Christie Dubnansky<\/strong> featuring the dance corps of Ava Botros<\/strong> (dance captain), Katya Colebank<\/strong>, Lilly Glass<\/strong>, Simone Beth\u2019el Hume<\/strong>, Hilary Pierce<\/strong>, Tj-Yuxin Song<\/strong>, Gabrielle Tessier<\/strong>, and Eric Alexander Wolpert<\/strong>. The troupe created several beautiful visual storytelling moments, including the chariot race through the market, the burning bush, and the parting of the Red Sea.\u00a0<\/p>\n One of the most challenging elements of staging The Prince of Egypt<\/em> is portraying its biblical miracles. Without revealing any spoilers, Triune approaches these moments with ingenuity, and the result is very effective, helping preserve a sense of wonder without breaking the audience\u2019s suspension of disbelief.\u00a0<\/p>\n Triune Entertainment\u2019s The Prince of Egypt<\/em> succeeds because it treats its source material with sincerity rather than spectacle. Director Matt Moore<\/strong> proves that the story\u2019s power lies not just in its miracles, but in its exploration of identity, faith, leadership, and brotherhood. The result is an ambitious community-driven production that captures the heart of a story that continues to resonate for generations to come.<\/p>\n The Prince of Egypt<\/em><\/strong><\/a> plays through March 22, 2026, presented by Triune Entertainment<\/a>, performing at Journey Theater, 4175 Bludau Dr, Warrenton, VA. Tickets ($25 for adults, $20 for youths, and $22 for seniors) can be purchased online<\/strong>.<\/a>\u00a0<\/p>\n![\"\"](\"https:\/\/dctheaterarts.org\/wp-content\/uploads\/2026\/03\/Prince-of-Egypt-Triune-1200x1600-1.jpg\")