Sibling rivalry has never been more deliciously portrayed. Joseph and the Amazing Technicolor Dreamcoat, directed by Scott Spence, now playing at the Beck Center’s Senney Theater (the larger one), offers a festive family musical that skips the traditional holiday motifs (candy canes, gingerbread men, jingle bells and St. Nick) in favor of straight shots of comic joy.
Originally created by teenagers Tim Rice (lyrics) and Andrew Lloyd Weber (music) in the last century, it laughs at family disputes and celebrates finding one’s destiny. The musical has undergone developmental shifts over the years, but none of that matters right now (and anyway, the back story is on Wiki if you’re curious). So yes, this Tony-nominated musical shows its roots (past eras, pop styles, plus later chart-toppers), but all that only adds to the fun for older and younger family members who might like to share a holiday show.
The Narrator, Mary Bridget Davies, holds the story together as she guides us through the Old Testament account of Joseph and his brothers (“Jacob and Sons”). Throughout the show Davies (already beloved by this reviewer for her fabulous portrayal of Janis Joplin) brings the charisma one might expect, plus her own engaging humor and wit, to what might seem a hum-drum narration in lesser hands.
As the Narrator (Davies) explains, being the favorite (of twelve boys!) was more a liability than an asset for Jacob’s youngest son Joseph (played with winsome appeal by Jesse Markowitz). When father Jacob (a regal Jon Fancher) shows blatant favoritism toward his “baby boy,” the big brothers decide to get rid of him.
So, simple solution, they sell him into slavery and he’s taken to Egypt and later imprisoned.
Ah, Egypt! This gives us a chance to get a look at and a listen to Pharaoh (the amazing Jimmy Helms) whose musical vibe remarkably anticipates Elvis Presley (gyrations and all). The ensemble (Pharaoh has many wives and servants) and Helms have a great time with “Poor, Poor Pharaoh/Song of the King.”
When Pharoah’s Baker (Kyle Burnett) shares prison time with Joseph, he discovers Joseph is an ace interpreter of dreams. Turns out Pharoah has bad dreams. Joseph explains them, and as a result, his life begins to look up. He becomes Pharoah’s “Number Two” servant. (Joseph seems to always get along well with authority figures, no?)
Meanwhile, the bad brothers (all eleven of them) soon fall into poverty. But it’s fun for the audience because the sad ones ham it up and sing “Those Caanan Days,” a witty faux-French lament set in a French bistro. Bravo to Asher (Kyle Burnett), Gad (Jon Daher), Naphtali (Jared Guerrasio), Judah (Christian “CJ” Hall), Issachar (Reed Kruger), Simeon (Michael Majer), Levi (Brandon McGhee), Zebulon, (Simeon Schmitt), Dan (Nick Sobotka), Reuben (Owen Connor Stout), and Benjamin (Michael Younkin). All manage to add distinctive, individual touches to their brother-characters (not easy when there are eleven of you).
The show’s concluding fast-forward “Megamix,” a whole-cast summary where all the top songs in the show are repeated in order in something like two minutes, is also worth waiting for.
The small orchestra (unseen) added musical joy to the proceedings, thanks to Larry Goodpaster (music director), Bryan Bird, Jesse Hodgson, Michael Simile, Jason Stebelton, Bill Hart, Michael McCann, Alex Piepenbrink and Meredith Evans.
The set, designed by Cheri Prough DeVol is simple, but combined with lighting by Steve Shack and projections by Brittany Merenda, it works beautifully to suggest foreign scenes. It also allows room for choreographer Lauren Tidmore’s lively dances. Costumes designed by Betty Pitcher suggest desert robes and Egyptian glamour.
When the show opens, the aisles are full of young ones charging toward the stage. As it turns out, they (and a few adults) perch on ascending slabs arrayed on each side. From this viewpoint they sometimes join in as a chorus and always stay in character as observers of the story. This is not easy for anyone, and they deserve applause and appreciation for their professionalism. Go kids.
Bottom Line: The Dreamcoat isn’t the only thing that’s amazing. Packed with songs, bright characters, and memories of past musical eras, this family-friendly show has earned its “amazing” appellation.
[Written by Laura Kennelly]
Lakewood, OH 44107
One Response to “THEATER REVIEW: “Joseph and the Amazing Technicolor Dreamcoat” @ Beck Center by Laura Kennelly”
EDWARD MYCUE
A gauze-like review of the production soft as gossamer. Behind the skrim of a reviewer’s eyes is so much for a homebound San Franciscan to be wishing I could be there now while accepting awareness that I am an adult and can’t make it happen as might have happened when I was a younger thing (closer to 37 than 87) just hopping on an aircraft and flying for a day to see and play some happy weekend between the holiday of thanks and the one to come with a Rudolf red-nosing dear old Santa.