Main Stage Thespians: The Prince of Egypt

In a week packed with shows, workshops, and theatre-loving friends, Main Stage performances are a highlight of the International Thespian Festival (ITF). This year, Thespian Troupe 8104 from Rock Ridge Performing Arts brings The Prince of Egypt to ITF — a powerful production made possible by a special invitation and the 2024 Craig Zadan Pathway for Equity in the Arts Grant.

With music by Stephen Schwartz and a story about courage, identity, and destiny, this show is sure to leave a lasting impression. Ahead of their trip to ITF, Dramatics chatted with cast members Ella Diawatan, Andres Marrero, and Raheem Richardson to learn more about their show and experiences as they gear up for the big stage.

Compared to performing at your school, what’s different about preparing for one of the largest stages in school theatre?

Andres Marrero: Performing at our school is an incredible experience, but stepping onto [the Main Stage] presents a whole new level of challenge and excitement. The sheer scale—both in terms of audience size and production quality—requires us to fine-tune every detail. From vocal projection to stage movement, we’re ensuring every moment reaches the back of the house with the same impact it has up close. The energy of a national audience also brings a heightened sense of responsibility; we’re not just performing for our school community but for peers, educators, and theatre lovers from all over the country.

To handle this, our mindset has shifted from simply executing a performance to truly embracing the power of storytelling on a grand scale. We’ve learned to trust the work we’ve put in, lean on each other for support, and find joy in the magnitude of the opportunity. Instead of feeling overwhelmed, we’ve focused on embracing the challenge as a privilege, using that energy to fuel our performances.

What aspect of your show are you most proud of, and why?

Andres Marrero: The dedication and artistry each student—whether performing on stage, directing, or working behind the scenes—has poured into this production. Theatre is a collaborative art, and this show is a testament to what can happen when a group of passionate, driven individuals come together with a shared vision. Every set piece, lighting cue, costume choice, and character development moment was crafted with care and intention, making the final production a true labor of love. Seeing that effort come to life in a way that moves audiences is something we’ll always cherish.

Any memorable rehearsal moments or backstage traditions that stood out to you during the process of mounting the show?

Raheem Richardson: One of the most memorable moments throughout our rehearsals was how our cast bonded over the song Heartless. Every time it was performed, the energy backstage would be electric. All the boys would sing their hearts out, full of emotion, as if they were part of the performance themselves. It became more than just a song—it was a release, a tradition, and a moment where we felt deeply connected as a cast. It reminded us why we do theatre: for the shared experiences, the joy, and the feeling of being part of something bigger than ourselves.

Preparing a show is always a learning process. What’s been your biggest lesson throughout the process of prepping your show and now being told you’re heading to ITF?

Ella Diawatan: To trust myself and the work I’ve put into my craft. Theatre demands so much of us—not just physically but emotionally and mentally. At times, it’s easy to doubt whether you’ve done enough or if your work will resonate with others. But through this journey, from early rehearsals to applying for adjudication, and now preparing for ITF, I’ve realized that belief in yourself and your ensemble is everything.

When we first heard the news we were heading to ITF, it was overwhelming in the best way. It reaffirmed that all our hard work was worth it, and it fueled our determination to make this production the best it can be. This experience has taught us resilience, trust, and the power of collaboration, and we’re ready to take the stage with everything we have.

What is your favorite moment in the show?

Ella Diawatan: One of the most powerful moments in the show is For The Rest of My Life. It’s a pivotal moment where Moses, played by Raheem, experiences an emotional reckoning, and his performance is nothing short of breathtaking. Watching him fully embody the weight of Moses’ past choices and seeing the ripple effect of those decisions on the other characters is incredibly moving. It’s one of those moments in theatre where you forget you’re watching a performance—it feels real, raw, and deeply human.

It reminds me why we tell stories: to connect, to challenge perspectives, and to make people feel something that stays with them long after the curtain falls.

As a Thespian, what about this production makes you proud to share it with the ITF community? What do you hope the national audience remembers after the curtain falls in June?

Raheem Richardson: This production is more than just a performance; it’s a story of Finding Family—not just within the show itself but within our company and the theatre community as a whole. Every element, from the way we’ve shaped our characters to the technical artistry behind the scenes, has been crafted with the goal of bringing this theme to life in an authentic and meaningful way.

We hope when the final bow is taken and the lights fade; the audience walks away not just entertained but deeply moved. We want them to feel the heart and soul we’ve poured into this production, to recognize the transformative power of theatre, and to carry with them a newfound perspective—whether that’s about the story itself or the impact theatre can have on people’s lives. Because at the end of the day, that’s what theatre is all about: changing lives, opening hearts, and leaving a lasting imprint.