Originally a short pop cantata, Andrew Lloyd Webber and Tim Rice’s “Joseph and the Amazing Technicolor Dreamcoat” eventually blossomed into a longer recorded piece, a stage production and even a movie.
As envisioned and enlivened by Nick Zayas, directing the popular musical for Little Theatre of Winston-Salem, it’s the kind of storytelling that definitely benefits from visuals and spectacle.
The Little Theatre production, which opened Friday night, puts a large cast to good use throughout the show, and brings pizzazz and impressive technical work to the tuneful tale.
If you don’t know this musical, “Joseph” uses a mixture of mostly modern music genres — including western, go-go dance club, French café and a particular 1950s rocker — mixed with more traditional tunes.
As with other Webber-Rice works, the show has no spoken dialogue. Everything is related in song.
The Biblical tale of Joseph’s relationship with his 11 brothers, along with his dream interpretation skills, moves from his fawning father’s gift of the “coat of many colors” to his brothers’ plotting to get rid of him. Father Jacob thinks he’s dead and gone, while he works through challenging times in Egypt.
Saying more would give away too much, and the occasional nods to modern situations should be surprises. Let’s just say Joseph has his troubles, but holds on to the good.
Andrew Brodeur presents a firm but believably humble Joseph, with a youthful presence and a commanding voice.
The show primarily belongs, however, to the Narrator character, who pushes the story along with her information and observations. Charity Hampton was in very good voice from beginning to end in that vitally important role.
On the amusing “Those Canaan Days,” as they lament the downturn in their situation, brothers Mark Walek (Reuben), Glenn Otterbacher (Napthali) and Calum O’Boyle (Gad) get well-performed solo shots.
Jed Macosko (Pharaoh) also makes the most of his “Song of the King.” And from the lively “Jacob and Sons” near the beginning to the ending songs, the combined voices of the cast make a strong impression. Margaret B. Gallagher, music director, and her orchestra support them nicely.
Director Zayas and choreographer Becky Koza work the cast well with the song and dance aspects, but nowhere better than with the 12-member children’s chorus. The young performers are actively involved, which is not always the case.
The scene with “Go, Go, Joseph” impressed for color, costume and dance as well.
A nod must be given to Daniel Alvarez’s striking set design and lights, and LeeAnn Farrell’s costuming. A three-person “fly crew” hints at an impressive and aggressive scene design, which certainly turned out to be the case.
At its core, though, this “Joseph” is well-organized, transitions smoothly and keeps the action moving right along. For many audience members, it should be just plain fun to take the ride.
By BILL CISSNA Special Correspondent Apr 2, 2017
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