Review: JOSEPH...DREAMCOAT at Alabama Shakespeare Fest

MONTGOMERY, ALABAMA — Joseph and the Amazing Technicolor Dreamcoat turns 50 this year, but you would never know it by looking at the current production of the show at the Alabama Shakespeare Festival. Under the supervision of director Melissa Rain Anderson and choreographer Lindsay Renea Benton, Joseph is a fresh, energetic show that stays faithful to the classic script and score. Consequentially, it is a production that appeals to audiences of all ages.

Joseph . . . is a fully sung-through retelling of the Biblical story of the patriarch Joseph. But this is no Sunday School lesson. Lyricist Tim Rice and composer Andrew Lloyd Webber use a tongue-in-cheek style and jaunty tunes that turn a story of betrayal, imprisonment, and famine into a lighthearted and cheery performance. And at the Alabama Shakespeare Festival, the show is a high-stepping romp that had me tapping my toes throughout the performance.

I have seen Joseph . . . so many times on stage that I have lost count. Yet, Anderson's direction had little bits of originality that could still surprise me. From the "white trash" angel (played by Regan Kennedy in a white midriff and bedazzled jeans) during "One Angel in Heaven" to the use of backup dancers during "A Pharaoh's Story" and "Potiphar," Anderson packed the show with clever bits of stage business and directorial goodies that reward longtime fans. Anderson also knows when to inject some emotion into the story. The reconciling hugs between Joseph and his brothers at the end of the play was a sweet moment that emphasized a message of forgiveness, and "Close Every Door" was a deeply moving scene.

Benton's choreography is an eclectic mix of styles that suits the chimerical score well. Traditional musical theatre? Check. Ballet? Check. Modern? Check. Hip-hop? Check. It is all there (and more) in Benton's choreography. The sheer number of movement styles adds to the show's breadth and variety. And it is all executed well, to boot.

That being said, there were a few aspects that kept this production from moving from "great" to "perfect." Anderson underused Samantha Rios, the show's charismatic Narrator, who was too often shoved to the far side of the stage to watch the action passively. Also, "Go, Go, Go, Joseph" and "One More Angel" fell short of these numbers' full potential because there were too few dancers to fill up the stage. But will the non-critics in the audience notice or care? Probably not.

Michael Burrell is cast as the title character. His first song, "Any Dream Will Do" is performed with a far-off, pensive look -- appropriate for a character who is a dreamer. His later performance is a subdued one that gives the show its only dose of realism. Burrell's most triumphant moment is in "Close Every Door," which starts as a despondent, mournful song and ends with determination and courage. In a show that has a lot of gorgeous visuals, Burrell's performance of that song may be the most beautiful thing on the stage.

As the Narrator, Rios is a powerhouse. Her stage presence and confidence drew my eye in all her scenes. I especially loved the vocal embellishments that she gave to the score; the rubato of the rhythms and the free (but not showy) liberties she took with the melody updated the score to feel more like a 21st century pop album. Rios's performance is a major reason why this Joseph . . . does not feel like an artifact from the 1970s.

The depth of the cast of Joseph . . . is impressive. Even the most minor characters are portrayed vividly and memorably. Madisson Maning is a stellar Mrs. Potiphar: seductive and sultry in a family-friendly way. As Pharaoh, Jim Poulos is more of an Elvis caricature than an Elvis impersonator, but he got the most laughs in the cast, and the "Song of the King" brought a smile to my face. And all the brothers who had solo songs --Joe Chisholm (as Reuben), Rob Riordan (as Levi) and Donté Wilder (as Judah) -- gave perfect performances.

However, the hard-working ensemble are the true heroes of this Joseph . . . They dance their hearts out, and sound like a perfectly tuned choir (thanks to the careful supervision of music director F. Wade Russo). The same faces pop up again and again -- as Ishmaelites, Egyptian courtiers, prisoners, and more -- and these actors show a great deal of versatility and dedication to moving the show along. With so much talent and energy, it is easy to be charmed by this cast.

Another great success of Joseph . . . is in its technical elements. Theresa Ham's costume designs were divine. The contrast between the the sandy colors in Canaan and the bold black and gold designs of Egypt (with copious amounts of sequins and lamé) cleverly conveyed location and cultural differences. Additionally, Ham's decision to dress the Narrator in a bright pink jacket and black pants and top was a smart move because it allowed the character to easily stand out from the rest of the crowd. No one else is wearing hot pink in this male-heavy cast.

Christopher & Justin Swader's set was flexible, with a brown floor and short platforms, some of which could swiftly move to signal a location change. The Swaders' best set was the art deco pieces for the Potiphar scene. It is a shame that the sharp black, silver, and white triangles and the platform for the bed only used for one scene; in a fair world, the audience would get to enjoy that set more. The stage was surrounded by a "rib cage" of three white ovals that served as frame for the action; an upstage screen was a backdrop for some of the most stunning projections I have ever seen on stage. Created by Blake Manns, the animations emphasized the action and did not distract from the show. The animations that illustrated Joseph's dreams and the pyramid backdrops were two particularly strong visuals. 

The only technical weaknesses were related to the music. The live 11-piece orchestra (conducted by Russo on keyboards) sounded tinny and overly synthesized. I grew accustomed to the sound after the first few songs, but it was an odd mismatch that such a visually sumptuous show did not have a sound to match. Additionally, many of the songs in the first act were about 10 to 15 beats faster than they are usually performed. This gave the show a rushed feeling and made some of the jokes in Rice's lyrics harder to understand or enjoy.

But none of the show's few shortcomings could take away from the overwhelming pleasure that permeates the Alabama Shakespeare Festival's production of Joseph and the Amazing Technicolor Dreamcoat. My favorite part of seeing this production was watching the reactions of my three oldest children (ages 6 to 10) who attended with me. As they danced in their seats, marveled at the costumes, and enjoyed the exciting dances, I saw firsthand the magic of live theatre for a young child. Joseph . . . is a great way to introduce a child to the performing arts. But more (ahem) seasoned audience members can enjoy the show, too. This production of Joseph . . . from the Alabama Shakespeare Festival is a treat for both young and old.

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