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| Vinny Chavez and Scott Seaman |
by Gil Benbrook
Bringing the stage adaptation of the animated film The Prince of Egypt to the stage is both a monumental challenge and an extraordinary opportunity. The story, beloved by audiences worldwide, is one of faith, family, and destiny, set against a score of powerful music written by Stephen Schwartz,.
At the center of TheaterWorks' upcoming production are two actors, Scott Seaman and Vinny Chavez, who take on the iconic roles of Moses and Ramses, brothers whose bond is tested as their paths diverge. Their characters drive the heart of the story, balancing epic spectacle with deeply human emotion.
Guiding the production is Chris Hamby a director with a clear vision of how to translate the sweeping scope of the tale into an immediate and moving stage experience. With careful attention to both the grandeur of the story and the intimacy of the relationships within it, Hamby is working to ensure that audiences are not only dazzled by the spectacle but also touched by the humanity of the characters.
Before the curtain rises on the upcoming production, the trio sat down in between rehearsals to share insight into the challenges and rewards of bringing The Prince of Egypt to the stage, from shaping these iconic roles to creating a production that is vast in scale, deeply personal and should resonate with audiences in fresh and meaningful ways.
While most people are familiar with the character you play, what are some of the aspects of Moses and which ones do you identify with most?
Scott Seaman: "First of all, I am so grateful for this amazing opportunity to portray Moses in this production with TheaterWorks, alongside Vinny Chavez as Ramses. We hit it off early on during the rehearsal process, and it has been such a joy to work alongside such a talented artist, and to find a new friend and brother as we work on this project together.
This is a story about identity and family for Moses. His world is shaken when he finds out he is actually a Hebrew and not part of the royal family—so Ramses is not his brother! He is lost and alone for awhile, but he finds new family in his Hebrew family and with the Middianites during his time in the desert. He marries an amazing woman, Tzipporah—played by the lovely Sarah Wiechman in this production—who is by his side for the rest of the show, especially as he carries the enormous burden of freeing the Hebrews from bondage.
While I’ve never gone through an identity crisis to the level that Moses goes through, I think we all have aspects of ourselves that we have to learn to accept and even love, in order to make peace with ourselves. I get that. I’ve had my own journey with that. And as far as family goes, I definitely understand the need for connection and belonging. I’ve had moments in the show that have reminded my how lucky I am to have 3 amazing sisters that have been a huge support to me, especially since our mom passed away 6 years ago. And I’m incredibly fortunate to have an amazing woman as my partner and wife, who has stood by me through some of the toughest parts of my life. And while I’ve never had a brother, I count myself lucky to have had some of the best guy friends in the world over the years, and I definitely consider them my brothers, and I have felt that bond.
Your characters begin as brothers but ultimately become enemies, how did you approach building that complex relationship on stage, and how does it evolve throughout the show?
I think it’s really important that the brothers have no idea at the beginning of the show that they would ever become enemies. And they have no idea that Moses is actually not Ramses’ brother. To them, they are true brothers, and they have a deep bond as brothers do, sharing the same experiences, watching out for each other, fighting, playing, teasing, and growing up together. Chris Hamby, our amazing director, has worked with us on creating that dynamic and that connection between the brothers. We’ve had some good laughs, as Chris has actually had to direct us to stop standing so close to each other in some scenes, and has had to pull us apart and space us out more on the stage! But I think it’s important that that pull is always there. It’s a thread throughout the story. As the show progresses and they are torn apart by fate and the different paths that they choose, they eventually have to confront each other when those paths collide. What I love about this version of the story, as portrayed in the musical adaptation, is that their brotherly bond ultimately wins in the end. They come together and work things out in a beautiful way, and it reminds us, I think, that ultimately we are all brothers and sisters on this planet, and that we have a stewardship for each other, and that we can choose peace over war. In our portrayal of all that, I hope audiences can feel a real connection between the two brothers, and can see how that love and that brotherhood win over all else.
The musical demands both powerful vocals and intense emotional moments, what’s been the most rewarding or challenging aspect of portraying Moses/Ramses in such a dynamic production?
It is a very emotional journey for Moses throughout the show. With yes, big vocal demands to help the audience feel the highs and lows he is experiencing in those intense moments. For me it is all about being in the moment, in those moments—vulnerable and exposed. I have to trust and let go, and go there with him, and surrender to the emotions, and trust my vocal training and muscle memory to not damage my voice. Luckily, I have incredible castmates and a caring crew that catch me on the other side of that, and quite literally lift me up and put me back together to keep going throughout the show. There is a beautiful moment where this happens on stage during the song “When You Believe.” It is so powerful to have this entire cast of 40+ voices singing this song to me, as Moses, and to feel life and hope and faith and love pouring into me from them. I quite literally couldn’t do it without them.
The story of The Prince of Egypt is deeply rooted in faith, identity, and legacy. What personal connections have you found with your character’s journey?
"The musical version of Prince of Egypt explores a different side of Moses that wasn’t really explored in the animated film. It asks questions like—how did Moses feel about God asking him to send down plagues on his brother Ramses and his people? Did Moses feel torn between following God and loving his brother? Especially after the death of the firstborn of Egypt, including Ramses’ own son—did Moses feel any guilt or regret for being part of such a horrific crime? The musical goes there, and explores these questions. Seeing Moses wrestle with all this definitely humanizes him. He has doubts and questions about himself and about God—like many of us do. I’ve definitely faced some of that. I come from a very religious background, and I’ve had to wrestle through some of my own feelings about God and religion the past several years. I can definitely relate to Moses on this one. I've faced some life events and even tragedies in our family that have put me on a journey the past several years of transitioning from seeing things as very black and white for most of my life, to now finding myself in more of a grey zone—leaving lots of room for nuance and uncertainty on things that I thought were absolute. And yet I feel more peace and trust and hope than I ever did before. I am in a very different place than I ever imagined I would be, and it has opened me to more love, tolerance, and connection to people than I ever thought possible. How amazing is it that we get to share our experience on this planet with people from every race, culture, nationality, sexual orientation, gender identity, and religion—and there is room for all of us! In the show it is so beautiful to see Moses come out of a very dark place of struggle and ultimately choose love—love for his family and for his people, and love for Ramses and his people—above all else. I love portraying that. It really is a prayer for peace and harmony between all people and all nations in the end.
While most people are familiar with the character you play, what are some of the aspects of Ramses and which ones do you identify with most?
Vinny Chavez: "I definitely relate to Ramses in several ways, especially his determination to make his family proud. While my situation isn’t as dramatic as his, I share that strong sense of loyalty to my family. I also connect with the rapid growth in his maturity—being forced to take on more responsibility than he was truly prepared for is something I’ve experienced as well."
Your characters begin as brothers but ultimately become enemies, how did you approach building that complex relationship on stage, and how does it evolve throughout the show?
"Working opposite Scott from the beginning has made the entire rehearsal process so smooth. We connected quickly and already have a natural, playful energy between us.
As for the arc of their relationship in the show, it can definitely be challenging at times—especially when we have to fill in the blanks for moments that aren’t shown on stage. It’s up to us to justify those shifts and make them feel real and grounded, which I actually find really exciting as an actor.
It adds layers and keeps the work from feeling one-note. There are some really interesting changes in their dynamic—the way they start the show in one place and, by the end, it’s as if they’ve completely swapped roles."
The musical demands both powerful vocals and intense emotional moments, what’s been the most rewarding or challenging aspect of portraying Moses/Ramses in such a dynamic production?
"Being part of any production at TheaterWorks is always such a pleasure—they truly pull out all the stops. With the production quality being top-tier, it really sets the stage (literally) for us to step into character with ease.
The score is absolutely beautiful, and getting to sing this music with a cast of 40 brings so much power and energy to every performance.
The most challenging part? Hitting all those high notes! I like to call myself a wannabe tenor. Luckily, our music director Lincoln—who I’ve had the joy of working with for almost 15 years—believes I can hit them. So I must be doing something right!"
The story of The Prince of Egypt is deeply rooted in faith, identity, and legacy. What personal connections have you found with your character’s journey?
"I knew The Prince of Egypt on a surface level growing up—I saw the movie when it first came out in theaters, and as a kid raised in the Catholic Church, I was familiar with the basic story.
Now, being much older and not as actively involved in religion, I find it amazing that the story still resonates with me. I connect more deeply now with the themes of faith and belief. One of our cast members said it best during our first read-through: it’s not so much about believing in one specific thing, person, or being—it’s about having the freedom and power to believe in something. That message really motivates me.
I’m also excited for audiences to experience this musical version of the story. Ramses is often portrayed strictly as the villain in the movie and in the broader narrative, but here, there’s time to explore and flesh out a more complex, fully realized human being with a more layered arc. I think people will be surprised and moved by that."
For those unfamiliar with this musical, how would you describe The Prince of Egypt?
Chris Hamby: "At its core, The Prince of Egypt is an epic journey—both in scale and in spirit. It’s a story about two brothers, raised in privilege and power, who find themselves on diverging paths that ultimately define their destinies and the fate of a people. The musical blends sweeping music with timeless themes—identity, freedom, responsibility, and the deep struggle of letting go in order to lead. It’s deeply human, spiritually resonant, and, quite simply, breathtaking in scope. If you think you know the story, this musical will surprise you with its depth and emotion."
The Prince of Egypt tells a powerful story of identity, faith, and liberation. Why do you think this story, which is set in ancient Egypt, still resonates so strongly with audiences today?
"This story resonates because at its heart, it’s about transformation and courage in the face of impossible odds. Every generation grapples with what it means to find one's voice, to challenge injustice, to break cycles of oppression. Moses’ journey is intensely personal—he goes from being a man of privilege to a leader burdened with responsibility, guided by a deep calling. And Ramses, in his own way, is equally complex. These are not cardboard characters from history books—they’re us. They’re every leader, every dreamer, every person forced to reckon with change. That’s why this story still moves us—it speaks to our yearning for purpose, for truth, and for freedom."
What can you tell us about your cast, especially the actors who play Moses and Ramses?
"We have an extraordinary cast—artists who are not only gifted performers but deeply thoughtful collaborators. Our Moses brings a remarkable vulnerability and inner fire to the role. He doesn’t just play transformation—he lives it every night on stage. And our Ramses… wow. He embodies the full complexity of a man torn between friendship, legacy, and power. Their dynamic is electric. You feel the brotherhood, the love, the heartbreak. The entire ensemble pours everything into this piece. It’s one of the most emotionally generous and vocally powerful casts I’ve ever had the joy to work with."
The show explores deep emotional and spiritual themes. How did you work with your cast and creative team to ensure these moments felt authentic and impactful? And what was your approach to balancing the grand, biblical scale of the story with the more intimate human relationships at its core?
"We started from the inside out. Before we tackled the spectacle, we have tried to ground ourselves in the emotional truth of each scene. We talk a lot in production meetings and rehearsal about legacy, about personal faith, about what it means to be called to something greater than yourself—and what it costs. We have made space for vulnerability in the room.
In terms of scale, we leaned into contrast. The grandeur—plagues, miracles, exodus—has weight because we root it in deeply human stakes. Every towering moment is anchored by an intimate one: a brother’s plea, a mother’s prayer, a child’s hope. That duality—that's where the magic lives."
Based on the biblical story of Moses, the Exodus, and the giving of the Ten Commandments, The Prince of Egypt tells a similar story to the one depicted in the beloved, Oscar winning film The Ten Commandments. Did you draw inspiration from that film or any other productions or interpretations of this story, either on stage or screen, for your production?
"Absolutely—how could we not be influenced by The Ten Commandments? It’s iconic. But rather than trying to replicate it, we let it be part of the conversation. I also revisited the original Prince of Egypt animated film, of course. Its emotional beats and score are powerful touchstones. We have also been inspired by the large West End production as well. But I was just as inspired by more contemporary retellings of ancient stories, like Aida—productions that find new relevance without losing reverence. Our goal was to honor the tradition while offering something fresh: a production that feels timeless but also urgent and alive."
What creative opportunities and challenges have come with presenting such an epic, cinematic story for the stage?
"The challenge is also the gift. This story asks a lot of you as a director and especially the choreographer—it demands vision, precision, and a deep respect for the source material. Translating rivers that part, voices from burning bushes, and plagues into theatrical moments forces you to get creative. But the stage has its own kind of magic. With the right combination of lighting, movement, and performance, we can suggest the miraculous in ways that are deeply affecting—sometimes more so than CGI ever could be. The opportunity lies in letting the audience use their imagination again."
Audiences may be familiar with the iconic songs from the film, like “When You Believe.” How does the stage musical expand the score, and what are some of the differences from the 1998 animated film that many people know and love?
"Stephen Schwartz has expanded his original film score with over a dozen new songs for the stage—and they are stunning. There’s a depth and maturity to the musical that allows characters to explore their inner worlds in a way the film didn’t have room for. “When You Believe” is still the emotional centerpiece, of course, but now it's surrounded by new material that gives the story more breath, more tension, more heart. It’s no longer just a film brought to life—it’s a full, rich theatrical experience in its own right."
This is a grand and expansive story. Any behind-the-scenes insights you’d like to share in terms of what audiences can look forward to visually?
"Oh, we’ve dreamed big with this one. The media design is bold but fluid—it transforms as the story unfolds, almost like it’s alive. Our lighting design is key—it evokes heat, mystery, divinity. And the choreography! It’s both ritualistic and narrative-driven. Every movement tells part of the story, particularly in the ensemble-driven moments like the plagues or the crossing of the Red Sea. Audiences will be transported, but they’ll also feel grounded in something real."
In directing this production, were there any specific historical or cultural elements you wanted to emphasize or reimagine for the stage?
"I would say, no. We approached this production with strong conversations both externally and internally. However, I looked at Hebrew and Egyptian storytelling traditions, and the symbolism embedded in both. I had a great research trip to the Museum of Modern Art in New York. We have leaned into the anachronism of the play and world we are creating. We have made room to reinterpret—to bring in a more universal, almost timeless aesthetic. Our costuming, for example, nods to history but doesn’t live strictly within it. We wanted this world to feel both specific and expansive—rooted in the past but resonant with now. Because at the end of the day, this isn’t just a story about ancient people—it’s a story for us, today."
What do you hope audiences walk away with after seeing The Prince of Egypt on stage at TheaterWorks?
"More than anything, I hope audiences walk away feeling moved—deeply, personally moved. This isn’t just a story about plagues and miracles; it’s a story about finding your voice, facing your truth, and choosing compassion over fear. I hope people leave reminded that liberation—whether personal or collective—often begins with a single, quiet act of courage.
I also hope they see a bit of themselves in these characters. That they recognize the cost of growth, the pain of letting go, and the beauty of believing—especially when belief feels hard. At TheaterWorks, we always strive to tell stories that matter, stories that challenge and uplift. The Prince of Egypt does both. If someone leaves the theater feeling a little more connected—to their faith, their family, their sense of purpose—then we’ve done our job."
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