[NEohioPAL] Berko review: JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT @ Palace Theatre/PlayhouseSquare

[Roy Berko]

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*JOSEPH starts its national tour at the Palace*

Roy Berko
(Member, American Theatre Critics Association, Cleveland Critics Circle)


The format for "JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT," a version of
which is now on stage at the Palace Theatre, makes the show unique.  In
contrast to almost all musicals, except reviews, the show has no script.
There is music by Andrew Lloyd Webber and lyrics by Tim Rice, but no spoken
format for dialogue, no hints on how to stage the piece.  Therefore, each
production is dependent upon the creativity of the show's stagers.

JOSEPH is a musical interpretation of the Biblical story of Joseph, who is
sold into slavery by his brothers, who are jealous of his being the
favorite of Jacob, their father. Joseph, is taken to Egypt and sold as a
slave. Oh "Poor, Poor Joseph." His master, "Potiphar" has a beguiling wife
who seduces innocent Jo.  The boy winds up in jail and laments, "Close
Every Door to Me."  But fear not. Jo has the ability to interpret dreams.
Yes "Any Dream Will Do."  His fate turns when he successfully tells the
Pharaoh's butler what his dreams mean and there is hope, "Go, Go, Joseph."
The Pharaoh is having nightmares, "Poor, Poor Pharaoh." Joseph is brought
to him, and "Pharaoh's Dream Explained." The Pharaoh (who could make a
fortune in Las Vegas as an Elvis impersonator) appoints him as his "next
main man."

His brothers, who are starving back home, oh, "Those Canaan Days," and  are
unaware that their brother is now the second in command, come to Egypt to
beg for food.  They actually "Grovel, Grovel" before Joseph.  Even though
they have partaken in fratricide, Joseph forgives them and gives them bags
of food.  But his golden chalice is "stolen." "Who's The Thief?" Benjamin?
But, as revealed in "Benjamin Calypso," the whole incident is a ruse to
test his brothers.

As happens in fairy tales and Bible stories, there is singing and dancing
with a "Joseph Megamix" and the audience goes home happy.  At least, many
of them walk out pleased to have spent an "hour or two," with Jo and his
adventures.

This JOSEPH is a reimagining of the show, which includes a great deal of
new musical orchestrations by John Cameron.  For those who have seen the
show before, readjusting your ears may be necessary.  Yes, the hip hop,
tap, jazz, rock, calypso, disco and ballad sounds are still there, but many
of the songs have a new contemporary sound.

Unfortunately, at least on opening night, all did not go totally well.  The
first act dragged.  There was almost a chaotic community theatre feeling to
the goings on.  Maybe it was opening night jitters and the knowledge that
the reviewers were there.  Maybe it was all the constant moving of
platforms all over the stage.  Maybe it was getting used to the huge
Cleveland audience and their reactions.
The second act worked much better, maybe because director Andy
Blankenbuehler added shticks and gimmicks and scenic designer Beowulf
Boritt eliminated all the dragging around of platforms and turned over the
sets to the projections.

Another issue was  the lack of continuity.  Starting as a sleep scene
(filled with wonderful fantasy projections, but which didn't forecast what
was coming), the opening morphed into a very contemporary dance number in
modern clothing.  Then there was an unexplained transitional trip to
Canaan, as we are introduced to "Joseph & Sons" and "Joseph's Coat."  When
the final song states that we are being taken "back to the beginning," why
didn't we get a trip in time back to the opening scene?  Hey, Mr.
Blankenbuehler, words have meaning that tell us what to expect.  They
should be adhered too!

Another issue may have been the casting of Diana DeGarmo and Ace Young, who
are known to many, especially the younger members of the audience, for
their appearances on "American Idol."

Adorable DeGarmo started singing in a high pitched voice, which partially
abated in the second act.  Young, he of handsome face and sculpted body,
looks better than he sings, dances or acts.  His voice sounded nasal.  Both
tended to sing words rather than meanings.  They weren't terrible, just not
what is expected of Broadway performers.

Ryan Williams, he of swiveling hips and the Elvis smirk and snarl, was
point-on as the Pharaoh, stopping the show with his "Song of the King" and
its several reprises.

Paul Castree (Simeon) and his brothers' French inspired "Those Canaan
Days"  brought the audience to life with their singing and plate-smacking
and stacking routine.

Daniel Brodie's video and projection designs enthrall.  Displayed on walls
of gauzy material, on parts of costumes and on the stage curtains, they are
a lesson in the new trend in Broadway musical theatre sets.  (The woman
seated behind me squealed, "How are they doing that?" on the first effect
and continued to repeat that phrase throughout the visual displays.)

Blankenbuehler's choreography was well conceived to parallel the many
sounds of the score.  The young man playing Benjamin, who was not
identified in the program, did some impressive gymnastics during many of
the numbers.

Film rights to JOSEPH have been purchased by Sir Elton John.  He, along
with Andrew Lloyd Webber and Tim Rice, will produce an animated family
feature.

*CAPSULE JUDGEMENT:  JOSEPH is one of my favorite escapist musical theatre
scripts.  I love the music, the creativity of taking a Bible story and
making it into a pleasant family experience without getting preachy.  The
version now on stage at the Palace was not one of my favorite stagings of
the show.  Audiences will generally like it, but it could have been "One
More Angel in Heaven," at least in show business firmament, but it wasn't.*

"JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT" is scheduled to run through
March 16, 2014.  For tickets call 216-241-6000 or go to
www.playhousesquare.org

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