Discover our story – FAQs …

What happens when a prince gives up infinite power and privilege for something higher only to find that his mission is descending into chaos and his life will seemingly end in failure?

In and around ancient Egypt. The action flips between the desert and flashbacks to  a royal Egyptian tomb and Pharaoh’s palace.

Moses has given up his succession to the Egyptian throne in order to rescue the slaves from Pharaoh, his ‘mother’, but soon realises that that was the easy bit. While the rebellious people demand to return to Egypt, the ghost of Pharaoh stands before him, urging him to take control.

The writers have long been intrigued by the personality of Moses – a troubled, obsessive, impulsive, passionate, argumentative character, sometimes brutal, who never made it to the promised land. In time, the desperate and dramatic journey of this embattled leader came to seem like an obvious subject for a musical.

We have taken, and re-imagined, the untold part of the Exodus story – Moses’s struggle to assert his leadership and gain the people’s trust following exit from Egypt.

We have used modern idiom and rhyme/rap, combined with humour.

Pharaoh is a female mother-character, who has a complex relationship with Moses.

We see it all the time: Dictatorships fall. Statues topple. Freedom and democracy briefly beckon – but then the in-fighting starts and peoples’ lives become tougher. How do you stop the slide back to autocracy?

Currently, around 1h 30m.

There are four main characters: Moses, his wife Zipporah, Pharaoh, and Korach, Moses’s rebellious cousin.  Plus a small ensemble representing the Egyptian scribes/courtiers and the slaves.

Yes. The piece is entirely “musicalized” (i.e., sung or spoken with music underscored).

Epic musical theatre meets 21st century spoken word.

• Politics and the messy reality of political change.
• Whether people can ever accept elitist outsiders.
• How power can easily evolve into corruption.
• Can liberators avoid becoming dictators?
• Different leadership styles.
• Brexit and new beginnings.
• How does a generation of unrest sort itself out?
• Belief. People’s reluctance to believe in the evidence before them. And in themselves.
• Words. Why do some versions of history travel down the generations but others don’t?

No. And you wouldn’t ask if you’d met Zipporah.

Sorry, no.

So fun.

Thought you’d never ask! We have a working script and score, which has been refined following initial dramaturgical and musical director input as well as workshops with musical theatre actors. We’ve made some demo recordings with sample orchestrations.