joseph and the amazing technicolor dreamcoat

What better way to take the audience on a romp through Canaan and Egypt than with the increasingly popular electronic screens that can change the surroundings with the flick of a switch?  Detailed and colourful artwork across three screens provided the backdrop with 3D, animation and day-glo-bright op-art patterns, never missing a beat as we crossed the desert, with pyramids and Sphinxes, to Potiphar’s place, Joseph’s cell, Pharaoh’s palace with Anubis standing guard, a humorously misplaced Parisian cafe and a splendid flying chariot of gold.  Upstage was a raised dais reached by steps painted to represent sandy stonework that blended unobtrusively with each of the scenes.  Little more was needed, but a stone wall made a brief appearance as the well into which Joseph was thrown.  Chairs were added sparingly when required.  The effect was bold and impressive and added greatly to the overall impact of the show, whilst eliminating slow set changes and the need for a large back stage crew, as well as maximising the stage space for the cast and its movement.  The lighting design included many cues and effects to give each number a character: - the pros arch was given a framing of  ‘Hollywood’-style lightbulbs and a low cloud of smoke/dry ice surrounded the Narrator in her opening number before a blinder was used momentarily to dazzle the audience while a gauze was pulled aside so it looked like a ‘magic’ transformation.  The effect of the red glow through the bars of Joseph’s cell created a powerful effect with shafts of ‘sunlight’ streaming in from the ‘grating’ above, picked up by the subtle use of haze.  The red wash during Those Canaan Days gave a smoky Parisian nightclub feel to the scene.  As if the 1960s/70s’ psychedelic excitement of Go, Go Go, Joseph wasn’t enough it was eclipsed by the ‘everything full on’ whirling and flashing colours and glitter ball finale in front of an acid-induced, hallucinogenic backdrop for the Mega-Mix.  

The Narrator made a forceful impact in her bright red dress and black belt, standing out as being of a different era when the action turned to biblical days and rustic Middle Eastern outfits filled the stage.  The earthy tones and stripes of the tunics were entirely fitting and the head wraps completed the look.  It was very comical to see the Brothers wearing their cowboy hats perched on top during One More Angel in Heaven.  The wives were dressed in traditional black from top to… well, mid-calf actually, which obviously made it easier to dance.  The uniformity of their T-bar dance shoes was pleasing as was that of the Brothers’ canvas espadrilles  Potiphar cut a dash in a smart black and white suit and crown, with the company in gorgeous 1920s’ flapper fringed and sequinned dresses for the parody of Charleston in Potiphar, before the stage filled with the ‘70s, recreated alive and kicking in a vibrant mix of catsuits and sequins to end Act I.  The beautiful gold pleated wings that screened Pharaoh were ostentatious so I was a little disappointed when he was revealed, not as Elvis, who had, as the programme notes informed us, inspired his character, but wearing a classic Egyptian kilt and usekh, albeit gold and glittery, that for that very reason didn’t stand out enough from the tinsel and sequins around him.   Nevertheless, the scene was spectacular in its lavishness. The Tango Dancer looked graceful in her yashmak and chiffon harem pants that allowed her full freedom of movement.  Joseph’s changing outfits followed the changes in his fortunes as he moved from shepherd to manservant in white waiter’s jacket, prisoner, and finally to gold usekh and snake headdress, gold lamé and matching boots.  The Coat, of course, was properly a riot of colours and the fullness of its godets was featured in the choreography.  

It was lovely to hear a generous orchestra for this show.  The overture sounded very loud to me initially and I was immediately concerned that the vocals would be completely overpowered but that was not the case to my ears.   The singing came across as confident and robust with good diction from most of the soloists and the parodies were picked up entertainingly on the whole. I particularly liked the exaggerated RP of Potiphar, which went really well with the comical stylised movements, and the cod French accent of Those Canaan Days, so tongue-in-cheek it was very funny and presented in a strong and tuneful voice with good acting and facial expression.  The individuals' lines of the song needed to have more attack to fit with the status quo of the strong lead.   I’m not sure that the rock and roll pastiche of Song of the King hit the mark, perhaps needing more of a deliberate send up of The King in the delivery, and the female chorus in what sounded like a few bars of a cappella ending Benjamin Calypso took a moment to find their notes.  Likewise, the children’s singing was just a little school concert rather than musical theatre but it was undeniably enthusiastic and a step in the right direction. The MD had gathered players who created a thrilling and full backing that was literally instrumental in the success of this show.  With the demand for a number of differing styles of movement and a large cast of mixed ability to move, the routines were kept relatively simple so everyone on stage could perform in a confident way.  Gestures, synchronised stepping patterns and transfers of body weight in leaning side to side look very neat when in unison.  Everyone had great fun in the yee-hah hoedown of One More Angel that incorporated galloping, turning and energetic cartwheels.  Slick armography and staccato poses characterised Potiphar with Mrs P attempting some high round kicks over Joseph.  Full credit goes to the tango dancing.  It is such a very specific and challenging style familiar to all Strictly… fans.  The two dancers portrayed the pastiche with conviction, producing spin turns and a variety of different lifts to their credit, which can’t have been easy in the limited space.

I thoroughly enjoyed this exuberant and colourful presentation of a well known and much loved musical and had a really good evening’s entertainment along with the entire audience.  It is good to welcome Falmouth Theatre Company back to being an active group in the NODA family after several years of inactivity.  Watch this space...

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