A Dull, Simplistic ‘Child of Promise’

A press release on Michael and Stormie Omartian’s Christian musical “Child of the Promise,” bills it as “a new Broadway-style musical” that draws on the influences of “Les Miserables” and “Phantom of the Opera.”

It is none of the above, and is only the second half of this nationally touring show, which played Thursday night at the Arrowhead Pond in Anaheim.

The first 1 1/2 hours is taken up by company members of varying renown singing Christmas carols in inimitable, overwrought styles. These are bookended by projections of videos hustling various wares with a Christian theme, from T-shirts and CDs of the musical to sponsorships of underprivileged children through tour sponsor World Vision to various products from Family Christian Stores (“We serve God by serving you”), also a sponsor of the tour.

One wonders: Had the musical’s subject descended upon the Pond that night, how many concession tables would he have overturned?

When the musical finally begins, it is a theatrically disappointing affair. The Omartians skim the surface of the birth of Christ on the most simplistic level. Only the absence of parading elephants and camels keeps it from looking and sounding like Crystal Cathedral’s “The Glory of Christmas.”

The score generally makes the arias--for that is what they are--sound dismally the same, and even the heavily pounding orchestra, conducted by Michael Omartian, gives each number the aura of “Climb Every Mountain” sung to a rock beat.

There is little acting involved. Performers for the most part stand at the front of stage to sing like concert soloists. . Of course, their voices are exceptional; all of these folks have won Grammys and other awards.

Some are effective, such as the popular Christian singer Steven Curtis Chapman as Joseph, Crystal Lewis as Mary with her highly individual style and Rachel Lampa as the prophetess Anna, a 15-year-old with an intriguingly mature insight into the inner workings of a lyric. The notable Russ Taff is the angel Gabriel in a highly effective vocal portrait, but his tendency to end each phrase with a self-satisfied smile diminishes his overall performance here.

“Child” does have a couple of lively and entertaining moments. One is a comic number by the Four Shepherds (the lively gospel quartet 4HIM) called “Nothing Ever Happens to a Shepherd,” which sounds like something Peter Cook might have dreamed up.

The other is the moment when Gabriel and the heavenly host come to inform the shepherds of the birth of Jesus in “Glory to God.” Several hundred local choir members in white appear in the empty bleachers behind the small set accompanying Gabriel, clapping ecstatically and wiggling like an alabaster mosh pit. In front a kinetic and fascinating quintet of teenagers called Jumpstart appear as angels dressed anachronistically in modern dress and jerk about in hypnotic modern dance.

But these two moments don’t save the musical from a dullness that caused some--but not many--of the faithful to depart before the final thunderous number.