The opening scene of this world premiere musical features an Arabic-sounding wail that perfectly sets the tone. This is a fable about the rediscovery of Arabic numerals and the development of logic and science that are based on the Arabic arithmetical system.
The Hidden Sky requires no mathematical knowledge on the part of the viewer, however. The deeper story is about the personal quest of two people to learn and experiment and break the bonds of a strict society. Beyond that, The Hidden Sky taps into everyone's search for knowledge. Emphasizing that larger theme, composer Peter Foley moves beyond the Middle East to include African sounds, Celtic and some contemporary pop, transformed into a solid theater score. His music is melodic, cloaked with rich harmonies.
Some of the best scenes are those that engage multiple voices, including rich choral writing. Robert Elhai's orchestrations cloak the music in a rich tapestry. Percussion, marimba and ethnic wood flutes are forged into new sonic combinations using only 7 musicians. It has some of the color of Elhai's Lion King orchestrations, but more delicacy and subtlety. Chisholm based her book on a short science fiction novel, The Masters, by Ursula Le Guin, about a young man named Ganil trapped in a society that shuns technology. Foley and Chisholm (husband and wife) changed the hero into a heroine, still named Ganil, who finds a man who is a kindred spirit, thus giving the musical a bit of sexual tension. In their search for knowledge, the two also find spiritual fulfilment. There's suspense as the intellectual conspirators try to keep their secret from the authorities. The Hidden Sky's limitation is in the underdeveloped characters. Vocally, Ana Maria Andricain is outstanding as Ganil.
The ensemble cast is exceptional, and their voices, plus the orchestra conducted by Wendy Bobbitt Cavett, create some mesmerizing aural moments. The vivid staging of Ben Levit creatively expands the small Prince Theater stage.
