JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT - THEATRE REVIEW (UK Tour)

amusings
May 17, 2016
4 min read

J O S E P H A N D T H E A M A Z I N G T E C H N I C O L O R D R E A M C O A T

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Wolverhampton Grand Theatre (UK Tour)

★★★

THEATRE | Kyle Pedley

MCELDERRY PROVES MORE THAN JUST A NAMECHECK...

With each passing year comes inflation, ageing… and a fair-to-good chance of a touring revival of Joseph and the Amazing Technicolor Dreamcoat. By now it is not so much regular as standard, and grizzled veterans of Andrew Lloyd-Webber and Tim Rice’s first public collaboration tend to seemingly far outweigh the newcomers in an audience. It’s the go-to for school and amateur theatre productions, and all of this has only been amplified since it kickstarted the bubble of musical theatre reality shows for BBC with 2007’s Any Dream Will Do.

And yet, as this latest tour colourfully, buoyantly and irrepressibly proves, there’s a very simple causality at work - Joseph remains so popular and enduring precisely because it is, at it’s essence, such a light, accessible and exuberant kaleidoscope of music and merriment. In fact, it’s difficult to imagine a more inoffensive, family-friendly staple in the annals of musical theatre-dom.

For the select few unfamiliar, the show is based loosely on the ‘coat of many colours’ tale of Joseph from the Book of Genesis. In this, their first major break into the industry, the early experimentation and slightly unrefined whims of both Lloyd Webber and Rice can be felt in it’s bricolage, kaleidoscope implementation of a whole swathe of musical styles and structure - from the Vegas-worthy rock and roll crooning of ‘Song of the King’, the Country jamboree of ‘One More Angel in Heaven’, the Charleston of ‘Potiphar’ to the Calypso of… well, ‘Benjamin Calyspo’, it’s an erratic yet winning collection. There is more than a soupçon of Lloyd-Webber’s later melodic heavy-hitters (such as ‘Memory’, ‘With One Look’) in the rousing ‘Close Every Door’.

"Leading the pack is former X Factor champion

Joe McElderry, whose casting in the titular role proves

savvy for reasons far beyond just the name."

All of which, then, paints a suitably compelling picture for Joseph being the perfect introduction to musical theatre for all of the above. Thankfully, the current touring production has assembled a solid company and some smart creatives who breathe plenty of life into a show which would be almost excused for coasting.

Leading the pack is former X Factor champion Joe McElderry, whose casting in the titular role proves savvy for reasons far beyond just the name. With a winning smile and youthful glow, McElderry cuts a far less formulaic and cookie cutter figure as the unfortunate shepherd’s son who goes on to greatness. It’s shrewd and well-judged casting - Joseph always sits awkwardly as some towering, vacuous adonis. Here, McElderry brings a natural charm and boyish innocence to the role and is easy to root for as the put-upon yet optimistic lead. And his voice is simply exquisite - easily one of the strongest Josephs vocally to step into the role, with his blisteringly strong rendition of ‘Close Every Door’ even prompting a pre-interval standing ovation from some members of the audience, and rightfully so.

Joining him is last year’s Britain's Got Talent runner-up, soprano Lucy Kay as the show’s postmodern narrator. Kay delivers some truly impressive belting and is generally strong throughout, though it’s a shame she doesn’t bring a touch more character and flavour to the role. Seemingly so focused on her demanding sing, Kay ends up playing the character straight to the point of almost being detached, an unwelcome irony considering the deliberate integration and peppering of the narrator throughout.

Elsewhere, Joseph stalwart Henry Metcalfe (who also serves as the show’s choreographer and associate director) returns, bringing some welcome restraint and grounding amongst the madness as Joseph’s father Jacob, whilst Emilianos Stamatakis is a solid and fun as the Elvis-esque Pharoah. Benjamin Beechey and Marcus Ayton stand out amongst the collective of Joseph’s brothers, though in truth they all put in spirited work, particularly in the bigger set pieces and moments - ‘One More Angel in Heaven’ being a notable highlight.

Nick Richings’ lighting design deserves credit for helping to transform Sean Cavanagh’s mostly static yet neatly layered set, and there’s plenty of fun to be had from the slightly irreverent use of a cavalcade of props and pieces including a singing Camel’s head, semi-unreliable inflating sheep, detachable goats, an ancient Egyptian credit card and a myriad of odes to Parisian ballads in ‘Those Canaan Days’.

"In place it is almost juvenile in it's handholding and

narrative simplicity... and yet, to chastise it for much of

this would be to not see Egypt for the pyramids."

A comfortable, universal staple, Joseph and the Amazing Technicolor Dreamcoat will likely continue prove itself too light and inconsequential an outing for those more accustomed to the weightier and more sophisticated outings of even Lloyd-Webber’s later output. In places it is almost juvenile in it’s handholding and narrative simplicity - pitching to its audience throughout at much the same level as the adorable collection of young chorus kids sat patiently on stage. And yet, to chastise it for much of this would be to not see Egypt for the pyramids; it’s the very reason Joseph continues to be one of the few sure things in a notoriously forgetful industry.

And, with such a pitch perfect lead and a undeniable enduring appeal, let McElderry and company take you on a familiar yet ever fun journey that, at this rate, will probably end up sticking around as long as the source material.

Any dream may do, but at least this one offers a buoyant, family-friendly time in getting there.

MUSINGS

+ McElderry proves a fantastic, original Joseph with some stunning vocals

+ Lloyd-Webber and Rice's early work here is irrepressibly erratic and varied

+ A real - almost rare - family-friendly staple that continues to prove a brilliant introduction to musical theatre

+ A solid supporting cast, particularly the brothers

+ Colourful, vibrant, upbeat and accessible with a joyous curtain call

+ / - It is incredibly light and fluffy, maybe too much so for some

+ / - Lucy Kay delivers some terrific vocals but doesn't add too much more to the role of Narrator

- The characters and narrative remain anaemically trim

Run: Tue 17 - Sat 21 May 2015

Performance Reviewed: Tue 17 May (Press Night)