JOSEPH AND THE AMAZING TECHNICOLOUR DREAM COAT

You don't have to be clued up on the Old Testament of 'Joseph' to understand this iconic musical - it's all there in a modern format and was the musical that set Andrew Lloyd Webber and Tim Rice on their stellar journey of brilliant musical theatre experiences.

It began as an end-of-term 15 minute school concert in 1968 - it was successful then and expanded to form the musical as we now know it, by opening in the West End in 1973 with the late actor, Gary Bond in the lead role. The show was further updated in 1974 and hit Broadway in 1982. There have been numerous revivals, notably with Jason Donovan in the leading role - it has toured the length and breadth of the UK over the years and since being released for Amateur Theatre, has been a popular choice for both adult and children's groups.

And now this latest production by Whitkirk Arts Guild - WOW!  My first impression on entering the venue and seeing an Egyptian-style catwalk down the whole length of the hall with a pyramid piece of scenery on the stage - simple yet so effective - the catwalk was quite narrow but if I tell you that the entire performance took place on this and around it - and we are talking 25 adults in the company - it had to be seen to be believed!

It was the brain child of the director, Louise Norbury-Robinson, whose idea this all was - discussion with the Stage Manager, Lynne Bigland ensued and she and the technical team put it all into action. Of course, there were hiccups and heartaches, but these were dealt with and what the audience experienced was quite amazing.

Unlike previous productions of 'Joseph' I have seen, this time there were three Narrators - Frankie Lakin, Emma Thomson and Claire Williamson - and what a brilliant threesome they were, all with strong voices and impeccably dressed in black cocktail dresses and matching technicolour shoes! They led us through the story and the scenes so well.

The lead role of Joseph was taken by Iain Harvey - I have not seen this young man's work before but I was blown away by his perfectly executed performance and vocal range - stunning!

Louise had directed her cast with massive attention to detail, every comedic and dramatic idea was there - she, along with the cast, hadn't missed a trick!  At the start, we see Joseph and his envious brothers working on their father's farm, Jacob, played sensitively by Daniel Martin, favours Joseph- the brothers sell Joseph off to the Ishmaelites and he ends up as a prisoner in Pharoah's Egypt. He manages to become a servant to Potiphar, (Jason Robinson at his overbearing best!) But after misbehaving with Potiphar's wife (a naughty Laura Harvey) - it's back to jail for Joseph - saved again by interpreting his fellow prisoner's dreams, the Butler (Rebecca Grayston) and the Baker (Keeley Row) both excellent performers. Joseph's speciality reaches the ear of Pharoah himself. He is portrayed here by an Elvis-style imitator - I could tell that Matthew Jackson relishesd this role, so well performed.

Meanwhile back in Canaan, Jacob and his brothers have failing crops and hungry tummies - (the number 'Those Canaan Days', hilariously performed as a French Chorus) - they decide to throw themselves on the mercy of Pharoah, not realising their own brother is Pharoah's right-hand man!  The realisation that Joseph is not dead leaves them all with a happy reunion back in Canaan - and a happy ending all round!

Not only did Louise direct this production but was also the Musical Director - once again, she brought out the best in her cast with perfect harmonies and strong vocals from every cast member - previous productions of 'Joseph' have included a childrens chorus - all the vocals were taken by the company and it blended so well.

I want to give a big cheer to Charlotte Jackson and Claire Williamson for their clever choreography in such a limited space, Claire Jackson had the mammoth task of putting together the costumes - these were so effective - the cast were dressed mainly in black with grey linen tabards together with added head gear and collars etc., to denote changes of characters. Well done!

I would like to take this opportunity of congratulating every member of the cast, too many to name individually - this was truly a team effort and community theatre at its best.

Behind the scenes, there were, as always, superb technicians - Lynne Bigland as Stage Manager, with Tim Bigland, Sean Robinson and Keith Speight, worked like crazy to ensure props were in the right place - no side stage here to hide, all done without fuss. Sound was in the more than capable hands of Chris Beardwell and Lighting, so effective given the many changes of mood, was by Dan Dainter.

This was an inclusive production - the audience was so close to the performers it must have been daunting on first night but the cast had all managed to overcome any fears subsequently. In spite of the narrow catwalk, I didn't see one bump or collision - I understand they rehearsed 'on the flat' and did not get to use the catwalk until the tecnical rehearsal - that is so impressive!!!

In closing my review, I would like to add that, although I have seen countless productions of 'Joseph' and I include professional ones, this is one of the best I've seen - I am out of superlatives but I give you my sincere congratulations for a first-class production - you should be very proud. 

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