ColorIt Joyful ByTom Wachunas A suggestion: dust off your bible and open itup to Genesis, chapter 37. Therein begins the iconic drama (which continues forseveral more chapters) about a family torn apart by envy and hate. Jacob favorsis son, Joseph, more than any of his other 11 sons, and makes him a spectacularrobe of many colors, befitting, it would seem, a king. Joseph flaunts thegarment, along with his gift for interpreting prophetic dreams, which include avision of Joseph ruling over his entire family. This causes his already jealousand angry brothers to hate him all the more and subsequently plot his demise. Ratherthan kill him outright, they sell him to a caravan on its way to Egypt. Thenthey stain his precious coat with goat’s blood, presenting it as evidence toJacob that his most beloved son had been killed by a wild beast. Prior to thejoyous reconciliation some years later with his family, Joseph ends up in anEgyptian prison, yet ultimately rises to a position of power and prestigesecond only to the Pharaoh himself. This hascertainly been the adventurous stuff of many children’s Sunday school lessons.In many ways, that presentational spirit of a child’s perspective remains atthe core of the musical by Andrew Lloyd Webber and Tim Rice, Joseph and the Amazing TechnicolorDreamcoat. It’s a perspective carriedover from the show’s humble beginnings as a very short “pop cantata” performedby a London children’s choir in 1968. Appropriately enough, then, thescintillating Players Guild production, directed by Jonathan Tisevich, beginswith Rachael Armbruster as the effervescent Narrator, addressing a group of 12wide-eyed children seated attentively at her feet. Throughout the show sheeffectively adopts the persona of an ever-friendly teacher, with a notablybright singing voice, brimming with bubbly warmth and enthusiasm.Interestingly, that pleasant persona is something of an ironic presence consideringthe gloomier underpinnings of Joseph’s plight. As Joseph, Jonathan Gruich is a commandingfigure who brings real emotional heft to his singing. He’s wholly believable,either as the dashing, prideful dream-sayer, the slave wrongly accused of lustingafter the wife of Potiphar (Pharaoh’s Captain of the Guard) and languishing inprison, or the powerful man who shows Pharaoh how to save Egypt from famine andin the process re-unites with his brothers and forgives them. Meanwhile, ToddCooper’s portrayal of the strutting, booty-bouncing Pharaoh-in-a-jumpsuit is adeliciously shameless Elvis imitation that brings down the house. So indeed theproceedings never become too dark or heavy-handed. There are in fact numeroustruly hilarious passages, often thanks to the male ensemble playing Joseph’sbrothers. After they break the bad news about Joseph, elderly father Jacob(Matthew Heppe) limps about in a state of very sincere sorrow while they intone“One More Angel in Heaven” with faces and voices wildly contorted intoremarkably individualized expressions of feigned grief and not-so-secret glee. Andmuch later, as they reflect mournfully on their situation in the chanson-style“Those Canaan Days,” the humor is all the more pronounced via their thickFrench accents. Additionally,the women and children ensembles are equally engaging singers and dancers. Whenthese ensembles combine, a kind of tribal intensity ensues, with deeplysonorous vocal harmonies soaring through the brisk and nimble choreography by LaurenDangelo. Beyond the bejeweled colors of the wild costumes by Suwatana Rockland,this dazzling gem of entertainment shimmers in a delightful pastiche of musical colors as well – from 1920sCharleston and vintage Elvis, to Calypso and Country Western, to name only some– driven by the infectious artistry of the live orchestra conducted by SteveParsons. Everything seems to move so fast and furious. Andjust when you think the story has ended, that you’ve heard that final note of anelectrifying communal hurrah, the entire cast rolls right back out in a raucousromp - a protracted medley of just about every tune in the show. It’s a madcaprecap of unmitigated ebullience. It might at first seem like too much for toolong. But then again,think for a moment on the terrible and terrifying condition of the world welive in these days. Can there ever really be such a thing as too much joy? Thanks, Players Guild, forthe invigorating memo. Joseph and the Amazing Technicolor Dreamcoat/ at Canton Players Guild Theatre, 1001 Market Avenue N.,Canton, Ohio / Through November 17, 2019/ Friday and Saturday at 8 p.m., Sunday at 2 p.m. (shows at 2 and 8 p.m. on Saturday Nov. 16) /$34 for single tickets, $27 for 17 and younger, $31 for Seniors / availableat www.playersguildtheatre.com or call the Box Office at 330.453.7617