"Children of Eden," composed by Stephen Schwartz, who also created the music for "Godspell," "Pippin" and "Wicked," is filled with beautiful melodies, none of which have become a popular song.

What makes it work at ACT is a collection of mainly new, fresh voices under the expert musical direction of Megan Mount and powerful staging by Brett Harwood that injects a fairly static oratorio with remarkable special effects.

It seems a strange choice to finish the season for Army Community Theatre. The show had a short run in London in 1991 and has never played on Broadway. But while it may not enjoy much name recognition with local audiences, it's popular with community theaters because of its biblical theme and expandable cast.

Laurence Paxton, who appears as God — the "Father" — is the old timer in the production; he has a performance longevity almost equal to that of the character he plays. Paxton appears throughout the action, adding a great deal of substance, and linking the changing list of soloists into a coherent whole. He also sets a standard for vocal excellence that many lesser-known singers rise to meet.

Generally following the Old Testament stories of the Garden of Eden and Noah and the flood, the book by John Caird takes some liberties to enhance the character drama.

A recurring theme is the pain that comes from choice, leading off with Eve (Tahiti Rey), who chooses curiosity over blind obedience, and Adam (Miguel Cadoy III), who chooses to be expelled with the woman he loves — even though God promises him a better wife and the comforts of Eden if he does not bite into the apple.

The choices continue as Cain (Jaq Galliano) defies Adam to explore a wider world and when Noah (Larry Cross) goes against God's wishes to save a descendent of Cain to be his son's wife.

The musical menu includes some beautiful a capella choral work in the title song that closes Act One and a pop love duet "In Whatever Time We Have," between Japhet and Yonah (Jose Ramon Rustia Ver and Madison Eror).

The late-appearing spiritual "Ain't It Good," led by Robin Janse as Mama Noah, is worth waiting for, as is the blockbuster finale, "In the Beginning."

Special effects include a sail-shaped curtain that flies out over the audience, several effective projections, and an ark full of animals.

While the stage movement is essentially static with only a token amount of unremarkable choreography, the power of the music, the underlying theme, and several noteworthy performances give the production plenty of staying power.