This is a visually stunning production from the show curtain to the final effect. The opening scene, in a modern museum, is striking enough with an Egyptian Eye motif on the back wall which opens in an eruption of flame. But then designer Bob Crowley hits you with billowing sails, reflected palms on the banks of the Nile, and underwater swimmers. And that is just the first ten minutes! Later you have an outrageous fashion show, a Pharaoh's throne room and a pyramid created by laser light. There are weaknesses enough in the awkward script and the disappointing choreography to make some squirm, but they can’t stand in the way of an enthusiastic audience’s enjoying the spectacle, the catchy music, the clearly-followed story and the solid performances by the replacement cast.

The story may be the same drawn from the Egyptian legend which also became the famous opera, but don’t expect grand opera here. Instead, there is the pop sound of the music composed by Elton John in his first written-for-the-stage outing. And there are lyrics by Tim Rice (Jesus Christ Superstar, Evita, Chess and parts of The Lion King and Beauty and the Beast) which include his trademark idiosyncratic anachronisms, for which I admit a weakness. He has Pharoah’s minister referring to genetics thousands of years before the discovery of DNA ("Don’t come on so cocksure boy / you can’t escape your genes / no point in feeling pure boy / your background intervenes") and the Pharaoh's daughter sounds for all the world like a modern valley girl as she sings sings "Forget the inner me / observe the outer / I am what I wear / and how I dress."

The cast now includes pop star Deborah A. Cox ("The Sound of My Tears") in the title role and Broadway veteran replacement leading man Will Chase (The Full Monty, Miss Saigon) as the captain. As might have been expected, Cox brings a full voiced passion. While her acting is thoroughly effective, she seems a bit uncomfortable with the mechanics of the blocking devised for Heather Hadley who originated the role. Chase demonstrates again his ability to take a role originated by another (Adam Pascal in this case) and make it his own. He isn't quite as searing in his vocals as Pascal was, but he makes the character of Radames much more human and sympathetic a prisoner of love. Secondary roles also have new people, most notably former member of the 60's rock group "The Monkeys," Micky Dolenz, as the Captain's father who plots to have his son take the throne. His performance is the greatest change from the interpretation of the original but it is thoroughly satisfying and is a better match for his on-stage persona than would be an attempt to recreate what John Hickock used to do. Hickock was a ramrod-strait macho military man, leading his troops through energetic dances for the two numbers the character sings. Dolenz looks like a back-room politician maneuvering his forces about. He seems to be choreographing the dancers' movements rather than being the lead dancer. In his grey wig he looks a bit like former speaker Newt Gingrich leading the Republican Caucus. It is nice to know that the show is in good hands as it enters its fifth year in the Palace.