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REVIEW: JOSEPH Amazes at the Hippodrome in Baltimore

By: Jan. 26, 2006
ANDREW LLOYD WEBBER
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Don't let the use of the logo from the 1993 revival of Joseph and the Amazing Technicolor Dreamcoat (Andrew Lloyd Webber/> and Tim Rice's first collaboration) fool you into thinking this is a reproduction of that show. Far from it - and in all the right ways.  This new national tour of Joseph is an amazing (well, I had to use the word) hybrid of the original 1982 Broadway version and the revival.  The show that opened last night at Baltimore's Hippodrome Theatre is a breath of fresh air.  Joseph is the first don't-miss of 2006!

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Director Dallett Norris gets what other directors of this popular tuner seem to always miss.  He keeps the quiet, sincere moments quiet (a stunningly underplayed, exquisite "Any Dream Will Do", which nicely bookends the evening), the campy moments campy, but not excessive (the sexy, slinky Apache dancing waitress and fly (yes, fly!) in "Those Canaan Days"), and the loud, fun numbers ("Song of the King") loud, fun, and best of all, eye-popping.  Rarely do all of the design elements of a show come together with such focus and unity as they do here: the witty, colorful costumes (designer uncredited in the Playbill), the alternately mesmerizing and rock concert-exciting lighting designed by Rick Belzer, and the dazzling, tongue-in-cheek scenic design by James Fouchard.  Not one move (fun, creative and certainly athletic) choreographed seamlessly by Arlene Phillips ever seems stale, and always looks like such a good time, one wants to charge the stage and join the gifted, versatile ensemble.  It should be noted that this is the rare production of this piece that fully utilizes the female ensemble.

 The show never stops, and certainly never feels like the two hours it takes to tell this tale of "boy whose dreams came true."  With clever use of picture phones, wireless Internet laptops, and the slightest hint at adult humor, this Dreamcoat has been brought into the 21st century, but never loses its children's Bible storybook feel.  Keep an eye out for the clever set pieces, especially Mrs. Potiphar's barge that floats in like a ride at Disney World, the spring loaded cacti, and the beautiful pyramid that lights up the background.  And the sense of humor of the costumes elicited more than one enthusiastic hardy laugh – check out the Egyptian golf attire of Potiphar, and the ingenious Egyptian Elvis outfit of the Pharaoh.  And Pilates be darned! Learn the choreography of "Go Go Go Joseph" or "Song of the King"; the cast may have a combined fat content of 1%!  One last thing to watch for: the very last seconds of the show has one of the simplest yet most jaw-dropping special effects involving that Dreamcoat of the title.

The cast, from top to bottom, is the real find here.  Patrick Cassidy (Broadway's 42nd Street) Joseph has just the right amount of ego-induced bravado, searching soulfulness, and youthful innocence that makes you never doubt that we are watching this boy grow into a man, having learned some of life's toughest lessons.  He is at his most touching (aided here by the wise directorial choice of starting a cappella and letting the song build) during "Close Every Door".  As the Narrator, "American Idol"'s gifted Amy Adams also shows remarkable (and appropriate) restraint with a clear, multi-range voice that never gets "Idol"-zed or way over the top.  When she lets her considerable belting skill show, during "A Pharaoh Story", you can see why she got so far in the competition.  It is to her credit that she always remembers her storyteller role and keeps her voice and acting, in check.  A lesser, more unsure actress might go for the easy applause of histrionic singing.  Here's hoping that when she's done her stint in this tour that another producer snaps her up and gets her quickly back onstage.  She also manages a great sensitivity and truly wonderful connection to both the audience and the onstage chorus of children.  Not a scene-stealer amongst these members of the Children's Choir of Maryland, they have clearly been directed to watch and wonder, but never over act.  What a relief!  Their Act Two entr'acte is down right sweet, but innocent and honest, earning a well-deserved ovation.    

As a group, the entire company has a vibrancy that permeates the theatre, and hasn't been seen on the Hippodrome stage since Mamma Mia!  This is also the first production of the show I've seen where you actually can't tell that the brothers are being recycled into the other roles, that's how finely they have developed separate characterizations.   Newest cast member Ken Nelson (as Reuben) dazzles as the country-western singer dropping the bad news bomb on his dad in "One More Angel in Heaven," and in the small, but plum role of the Baker, Timothy A. Fitz-Gerald shows a fine sense of timing, humor, and outright silliness.  The nicest surprise here, in the doubled-up roles of Jacob and Potiphar is Nicholas F. Saverine, clearly having a ball at both. Anyone who has ever seen Joseph will tell you that much of the success of Act Two hinges on the casting of the Pharaoh, and Todd DuBail is perfection.  His Elvis impression is dead-on, and wildly over the top.  Yet, (again some credit is due to both the actor and director) he never gets so far out there that you think, "Ok, enough is enough."  Instead, he leaves you wanting more.

Speaking of leaving you wanting more, the show ends with a now de rigueur "Joseph Megamix."  The difference here is that for the first time, this throbbing, pulsating Cliffs Notes version of the show doesn't feel like padding used to justify the ticket price.  Here, the cast reels off the shows greatest hits with such a youthful energy and abandon and apparent love for what they do, you want to scream, "Encore!"  But just like the rest of the show, it knows when to leave well enough alone.  This Joseph lives up to its title…amazing!
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