By AMANDA CLAIRE RICHARDS
Joseph and the Amazing Technicolor Dreamcoat, now playing at the Hobby Center for the Performing Arts, is one of the best shows I’ve seen in a while. Even now as I write, I can still feel the happy buzz you can only get from being part of a great audience at a well-executed production of a well-written show.
Despite the fact that I’ve seen many productions of this musical, (and can pretty much sing it through on my own without the CD because I’ve listened to the original recording so many times), this show is fresh and relevant, with much to offer first-time viewers and long-time fans alike. The cast of this production never misses a joke or a chance for a dance break, and their energy is contagious.
Joseph was one of the very first projects of musical theatre duo Andrew Lloyd Webber and Tim Rice. The show reinterprets a fairly short, 13-chapter story from the book of Genesis as a nearly two-hour, sung-through spectacle, with the songs flippantly and unselfconsciously jumping through musical genres as diverse as country, ‘60s, gogo, reggae, and the blues.
Joseph, the favorite of patriarch Jacob’s twelve sons, attracts the jealousy of his brothers by sharing the content of his prophetic dreams, in which he surpasses them in wealth and power, and by wearing his beautiful, colorful coat – a gift from his adoring father. Theatre Under The Stars’ production stars Ace Young, who brings the dream-interpreting character, most famously played by a long-haired Donny Osmond, to life. Young’s vocals are smooth with a rock’n’roll edge, and his Joseph is thoughtful, likeable and possibly a bit “adorkable.”
His female counterpart, The Narrator, helps to interpret the events and themes of the show through song. The role requires a big vocal range and even bigger acting chops, and Young’s real-life wife Diana DeGarmo is certainly up to the task. She is moving, hilarious, informative, provocative, and in all the right places! DeGarmo never misses a beat, and flawlessly belts out high notes mere seconds after dance breaks that would leave most of us gasping for breath.
The third star of this show is the male chorus, Joseph’s gaggle of dancing, singing, joke-nailing brothers. While many of the brothers have bit parts that cause the audience to laugh or cheer, three deserve special mention.
Reuben, played by Brian Golub, announces Joseph’s heroic and (spoiler alert) fake death to his father by singing “One More Angel in Heaven,” a country-western spoof song that, full disclosure, I usually skip when I listen to the CD. Most versions of this song I’ve seen are bland and one-noted, deserving of a short chuckle at the inspired concept, but then dragging on for three of four minutes the show doesn’t really need narratively. This production nearly changes my mind about this song; the twang and swagger are more “Honky Tonk Badonkadonk” than Conway Twitty, and many smaller visual jokes and clever improvisations tucked into the song keep it entertaining.
In the Second Act, Simeon (Paul Castree) and the brothers join in singing of happier times in those “Canaan Days” in the style of the French cabaret. The song is packed with visual gags, jokes at the expense of the French, and an exciting and percussive dance with metal plates and silverware that is reminiscent of Stomp. “Canaan Days” is literally a showstopper, with the audience cheering for a good 90 seconds after the ending of the song, only curtailed by the narrators cheeky “so anyway….” leading into the next song.
Finally, the Caribbean-themed “Benjamin Calypso” is a great “wake up” song after some of the (sort of) seriousness of the second act. As performed by Max Kumangai, the song seems fresh and memorable, instead of its usual cliché, shallow Jamaican-ness. It’s hard not to dance along.
A review of Joseph could never be complete without mentioning the Elvis-inspired Pharoah of Egypt, aka “The King.” (Hardy har!) Ryan Williams is an effortless rock-star who hits all the right notes with both his vocals and his Elvis impersonation. My only critique is that his fast moving and narratively-important song could be helped by some props or audio-visuals, since the thick Elvis accent makes it a little hard to follow the Pharoah’s recounting of his most recent dreams. (Especially for people unfamiliar with the story.) As usual, though, this Elvis part of the show is a real highlight!
This is by-far the danciest version of Joseph that I have ever seen, and I love it! From the opening number, it’s clear that dance will play a central role in telling this story, and the choreography is perfect in each of the genre-exemplifying musical numbers. The impressive audio-visual spectacle that makes up the set of this show keeps the audience laughing at visual jokes (like the cliché “walking through the Vegas strip” gag) and, at times, is beautiful enough to be emotionally affecting.
The costumes are interesting, fun, and appropriate, save for one: the Act I finale “Go Go Go Joseph.” The all-white costumes read as somewhere between tennis outfit and Anything Goes, and are a disappointment compared to the rest of the show’s high standard. The show ends with the iconic “Megamix,” a quick, choreography-packed re-mix of many of the show’s biggest numbers. It seems hard for the audience to stay seated and stop clapping along for even a few seconds of it. I think that’s a great sign for a show.
Photo credit: Daniel Brodie