Joseph and the Amazing Techicolor Dreamcoat

Joseph and the Amazing Technicolor Dreamcoat is a musical by Andrew Lloyd Webber featuring lyrics by Tim Rice. It was first performed in 1968 for a school concert and later adapted into a full-blown musical.  It tells of the biblical story of Joseph, man of destiny and favourite son of Jacob, who was sold into slavery by his jealous brothers and his rise to status and power in Egypt. The musical features many well-known songs and is performed entirely in song. 

Producer/Director Jo Fitzwilliams, Choreographer Lisa Jay and Musical Director Steve Walker and a live band of musicians, took us on a lively, colourful adventure, featuring a host of characters from Jacob and his twelve sons in Canaan, to an Elvis Presley style Pharoah at the Egyptian court. 

A chorus of children, all identically dressed wearing rainbow ponchos and headbands, along with two Narrators helped to tell the story through song and dance featuring many musical styles and genres from country and western, to a send-up of French cabaret and of course the rock ‘n’ roll inspired Song of the King sung by an Elvis styled Pharaoh.

The Narrators (Chloe Bray and Lauren Gill) shared the song lyrics acting as our hosts breaking the 4th wall as they interpreted the story while interacting with the cast. I was very impressed with their strong vocals, facial expressions and reaction to some of the lyrics especially the ‘rats’ in Joseph’s prison cell.  They worked very well together and kept the action moving along showing wit and humour.  I also liked their relationship with the children during a Pharaoh Story and Joseph himself as they tried to reassure him when he was in prison and gave him knowing looks about the brothers during Grovel, Grovel.

Jacob (Ben Gilbert who also had a dual role as Potiphar) the grey-bearded patriarch, was seated in a rocking chair as the brothers, dressed in ethnic styled tunics accompanied by their many wives (featuring Dance Captain Alisha Coote, Beckie Sylvester, Daisy Steele, Ela Watts, Joanna Thain, Linda Lee, Lynsey Price, Ruby Butler, Sandra Colman, Sarah Eastwood and Tilly Marshall) wearing black tunics and veils fawned around him vying for attention.  The female ensemble were also used well in the dance numbers.

This was all in vain however, as Jacob idolised his son Joseph (Sonny Allen.) Joseph was dressed all in white to differentiate him from his brothers, made even more obvious when Jacob presented him with the iconic coat.  This was a triumph in its design, and I loved the tiny detail of Joe embroidered on the inside neckline.  The coat itself was almost the star of the show with its myriads of colours and long satin panels which were used to excellent effect as the brothers surrounded Joseph during Joseph’s Coat.  

The brothers (played by Justin Tai, Archie Curlett-Crook, Tracy Stronge, Marino Jackson, George Crow, Lucy Crow, Henri Garraway and Blaine Conneely) each had an individual look, and some had their own songs to sing.  Reuben (Connor Ratcliffe), the eldest son took the lead in One More Angel in Heaven, a funny song about the tragic demise of Joseph that the brothers lied about to the grieving Jacob.  I liked the country and western themed choreography incorporating line dancing and an energetic hoe down with the addition of Stetsons to reinforce the theme. Simeon (Justin Tai) had the mournful French inspired Those Canaan Days,with a cod French accent and black berets featuring a showcase dance from Alisha Coote and George Crow playing Asher.   Judah (Gayle Howitt Bradley) sang the Caribbean inspired Benjamin Calypso featuring the youngsters with beach paraphernalia, and the Narrators supping cocktails.

Lots of ensemble highlights including the 1920s styled scene with Potiphar and his wife. Mrs Potiphar, played by Andrea Hall was a sexy, sequinned siren who had a fun seduction scene with young Joseph. I liked the concept of modern dress above the waist and traditional Egyptian style ‘kilts’ below which gave the story a contemporary feel with accountants wearing white shirts, black tie and glasses. It also featured a sleazy dance number with dancers in body stockings with strategically placed diamantè crystals. 

Once in the Egyptian court, we were treated to the whole cast wearing Egyptian themed outfits. I especially liked the gold and white colour choice, co-ordinating footwear and the clever use of wigs which created a cohesive visual effect. The use of some of the cast dressed as cheerleaders with gold pom poms added to whole modern interpretation.  The Pharoah, played by Neil Winterford, wore blue suede shoes and executed the iconic Elvis Presley dance moves he also interpreted the song well demanding total devotion from his subjects.

Another highlight was the upbeat Go Go Joseph featuring the cast in 60s flower power inspired dress, wigs and accessories performing choreography with a 60s vibe providing an explosion of colour for the end of Act 1.

Sonny Allen was excellent as the bemused victim of fate Joseph, buffeted around the story until he became the man he was intended to become.  His portrayal of the innocent ingénue was well done totally oblivious to the jealousy around him waving naively to his brothers who seethed with murderous envy. Sonny had good strong vocals and told the story well especially showcased in his poignant performance of Close Every Door to Me, gripping the bars of his prison cell surrounded by billowing smoke. His sweet revenge on his brothers was very funny as he finally, and ironically, realised the meaning of his own dream and watched with glee as the brothers grovelled for mercy at his feet. His iconic Any Dream Will Do was another well delivered song reunited with his coat and surrounded with swathes of multi-coloured fabric. I hope I will see him in future productions. 

The hired set fitted the Egyptian theme well with sandstone style walls, hieroglyphics and a rotating glittering pyramid. The two staircases were used well as was the platform above. Since the performance was in a school hall, most of the action took place on the floor but was easily visible with the provision of raked seating.  

Lighting was used effectively especially mirroring the colours featured in the song and to reflect the brothers’ murderous intentions also the use of swirling gobos. I did feel that some scenes could have been better lit as it was quite dark towards the edge of the ‘stage’ but appreciate the limitations of fixed lighting. Props were used well, such as the camel carried by the Ishmaelites and the three-sided cage which served as Joseph’s prison cell. 

The cast performed very well taking on many parts with the wives becoming dancers in various scenes. I loved the quirky choreography to the Song of the King and the use of the young ensemble who interacted well with the Narrators. 

A special mention to the chaperones who enabled the children to take part - without you our little future stars would be denied this opportunity. 

Well done Jo Fitzwilliams and your creative team and everyone helping behind the scenes, for a colourful and humorous version of the iconic show, Your attention to detail throughout was clearly obvious - I loved the little girl dressed as a furry goat and her horrified reaction to her fate! Congratulations also to Andrea Hall for her mammoth task creating the costumes which all added to the cohesive theme running throughout.  

It was a pleasure to meet director Jo Fitzwilliams, Andrea Hall and some of the cast after the show and I look forward to your next production.

 

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