REVIEW: JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT @ LONDON PALLADIUM

I’d wager that ‘Joseph and the Amazing Technicolor Dreamcoat’ has a unique problem amongst the current crop of West End musicals. Where the likes of ‘Les Miz’, ‘Prince of Egypt’ and reportedly ‘Cinderella’ have all made cuts in the name of a manageable runtime, Joseph has the opposite problem…it’s pretty darn short. The peculiar journey of this show has oft been recounted (on this very blog in-fact) but with Joseph’s origins as a fifteen minute pop cantata, it’s unsurprising that some additions have been made along the way to make it a viable night at the theatre. The production playing at the Palladium is a return engagement of Laurence Connor’s 2019 staging and while a massively enjoyable evening, it definitely boasts some added girth.

Though I’d be surprised if any readers weren’t familiar with the story of Joseph, the musical recounts the Biblical tale from the book of Genesis. Joseph is a Canaanite, one of Jacob’s twelve sons and gifted with the ability to interpret dreams. Jacob shows obvious favour towards Joseph by buying him a multi-coloured coat. This in-turn angers his brothers who conspire to sell him into slavery; Joseph is taken to Egypt in chains, will he ever be reunited with his father?

Often a handsome star has been cast in the titular role of Joseph, a canny move by producers to lure new audiences in but the 2019 production eschewed this approach and instead retooled the role of the Narrator for Sheridan Smith and these changes remain in 2021. Some of these changes are very successful; The Narrator is far more interactive with the main action and begins the show sitting round a campfire, storytelling to the child ensemble that sits rapt. Less successful is the decision to have her play Jacob and Mrs Potiphar, reducing the age range of the ensemble, perhaps I’m alone but I always used to enjoy the opportunity those roles offered older actors.

Despite these quibbles, Alexandra Burke is a fabulous Narrator, boasting adorable interactions with the young children in the cast and some humorous “business” when she’s not the main focus. One of the reasons she endeared herself to X-Factor audiences was her dance ability accompanying her powerhouse vocals and here Burke proves herself more than capable at mastering Joann M. Hunter’s choreography – a tap routine in ‘Joseph’s Dreams’ and hoedown in ‘One More Angel in Heaven’ particularly stand out. Burke soars when she is allowed to unleash vocally in ‘A Pharaoh's Story’, showing great restraint with just the right amount of riffing. A word on the arrangements; the keys were lowered in 2019 to accommodate Sheridan Smith, these versions remain today, which is a pity as having seen Alexandra Burke in ‘Sister Act’ she’d easily be able to sing it in the higher key.

Returning as Joseph is 23 year old Jac Yarrow, who brings a youthful exuberance to the role. Usually Josephs are easily categorised; some lean into the comedy, others give it the wide-eyed innocence and naiveté, Yarrow manages to touch on all aspects. ‘Close Every Door’ a theatre standard, still manages to wring emotion from the audience.  Jason Donovan is on hand as Pharaoh, doubtless to stir feelings of nostalgia in audience members of a certain age. He is always funny but he is off the scale with the camp, less Vegas Elvis and more Vegas excess, nevertheless the crowd ate it up!  

Director Laurence Connor, having wrangled scores of children for ‘School of Rock’, again shows fearlessness in giving the roles of the Butler, Baker and Potiphar to the child actors. Where the show struggles occasionally, is the aforementioned desire to pad out the runtime. While the choreography is excellent, not every dance break works, a can-can sequence in ‘Those Canaan Days’ feels excessive. That said, the ensemble are uniformly excellent movers.   

‘Joseph and the Amazing Technicolor Dreamcoat’ at The Palladium is like visiting an old friend. I do tire of referencing the pandemic in every review but this is exactly the tonic for these theatre-starved times. The ultimate feel-good show on the largest possible canvas. It almost felt like a dream!

 Phillip Beamon on behalf of Doctor Theatre 

For more information check out the official JOSEPH WEBSITE

REVIEW: THE PRINCE OF EGYPT @ Dominion Theatre, London

 

Having been starved of theatre for 18 months due to the Covid-19 pandemic we were desperate to be part of an audience again. Things didn’t go quite as planned, as productions cancelled on us for various reasons but finally Doctor Theatre had a staff outing to the Dominion Theatre. And what a way to welcome back theatre into our lives.  The 1994 Dreamworks animated movie The Prince Of Egypt, telling the story of Moses freeing the Hebrew people from slavery and leading them to the promised land, has become something of an iconic feature.  Such is a scale of the story that adapting it to stage would be problematic for any producer.  So we can be forgiven for being a little unsure of what to expect from such a venture. We needn’t have worried though. Scott Schwartz the director and Sean Cheesman the choreographer have truly delivered us from mediocre theatre.

This is the stage equivalent of one of those epic Biblical movies of old, where Charlton Heston would descend on high with the ten commandments.  From the very start the scale of the story is made clear with Kevin Depinet’s clever set design,  enhanced with projections by Jon Driscoll, which convey the grandeur of Ancient Egypt.  Whether the tale calls for a mountain side or seven plagues, they rise to the challenge with vistas that make us believe. The score itself by the director’s father Stephen Schwartz is full of Arabic rhythms and wailing choruses.  I personally would have preferred a few more earworms, but there is little doubt that “Footprints On The Sand” and the Academy award winning “When You Believe” will be the tunes you are humming on the way out.

The all important cast is led by Luke Brady as Moses.  We see the fun and then the  pain, as he realises his true heritage and the struggle to free his people.  Brady is matched by Liam Tamne as Ramses,  Tamne has some fine singing moments but needs a bit more colour to convince us of his change from mischievous youth to Pharaoh. Christine Allado as Tzipporah, the Midian slave girl who becomes Moses wife,  shows a fine voice and ability to play comedy and pathos.  Joe Dixon and Debbie Kurup as Seti and Queen Tuya have the regal presence needed for their roles whilst Clive Rowe as Jethro,  Tizipporah’s father and high priest,  brings an all too brief sense of fun to the proceedings.  The always wonderful Adam Pearce makes the most of his limited role as the sinister Hotep,  intent on preserving the traditional ways of the Pharaoh’s reign.  But all in all the large cast excel not only in the the many choral offerings the score demands but also in Sean Cheeseman’s inventive and clever choreography.  Having a full orchestra blasting out is an experience which cannot be overlooked,  there is simply nothing like it.  An experience that no online streaming or televised version can match.  Goosebumps time. So well done musical director Dave Rose and his band of 16 brilliant players.

A musical which aims to conjure up the parting of the Red Sea during the evening is one with real ambition.  You don’t have to be partial to a faith to enjoy this show,  the Bible has been called the greatest story ever told.  And this production demonstrates that the power of that storytelling hasn’t diminished, particularly when it is presented in such a classy production as this.  We came, we saw, we believed.  A triumph.

 Rob Cope on behalf of Doctor Theatre 

 

Details on the production can be found at the official website 

 

 

PODBITE: BACK TO THE WEST END

 

PODBITE - SINGING FOR OSCAR

 

REVIEW - THE SECRET SOCIETY OF LEADING LADIES (Barn Theatre streaming)

 

Although live entertainment has faced its biggest crisis ever (even during the World Wars live entertainment kept going) there is no keeping the arts down. Thanks to the wonders of the internet, our much battered and bruised directors, actors, musicians and stage personnel have combined to take the theatre into cyberspace.  This latest offering from Circencester’s Barn Theatre offers cabaret with a twist. Titled The Secret Society Of Leading Ladies,  five mighty talents have been invited to a secret performing space which comes to life when they step upon it.  The twist is,  you decide who performs from a pool of 14 leading ladies and songs. Simple but fun.

Now I really don’t want to spoil for those playing it some of the music choices, but I will say there are some great musical theatre offerings in there.  I might mention Sister Act,  Kinky Boots and Waitress by way of just three of the shows from which songs have been culled.  And if the material is first rate,  then I can assure you the leading ladies themselves match it pound for pound.  I think it would be ungallant to pick out a particular performer  as they are all incredible voices in their own right.  The 14 comprise (in alphabetical order so no diva tantrums are necessary):  Jocasta Almgill, Lauren Byrne, Kayla Carter, Aoife Clesham, Allie Daniel, Abbi Hodgson, Aisha Jawando, Claudia Kariuki, Natalie Kassanga, Emma Kingston, Kayleigh McKnight, Ellie Mitchell, Jarnèia Richard-Noel and Kelly Sweeney.  West End Wendys will recognise some of the performers, a few less so,  but rest assured they all have the vocal chops to carry off their respective numbers. Undoubtedly the sassiest group of leading ladies to be found on the internet.

Creator Ryan Carter clearly knows how to develop simple ideas into a stylish online treat, and the beauty of this particular piece of entertainment is that it has the legs to develop and run, with more songs, more performers. The result could potentially be an unrivalled interactive archive of musical theatre performers captured for posterity.  But little acorns must grow,  and this initial offering (there are apparently 150 different combinations of songs to be had) will clearly be a winner with the musical theatre starved public. And a great way for families to enjoy some of their favourite theatre songs together.  

This Secret Society won't be secret for much longer with performers like this at its heart,  well done to the incredible ladies and the Barn Theatre for such a stylish and fun piece of class cabaret. Somehow lockdown seems that bit more bearable.

Online streaming tickets can be purchased here:  https://barntheatre.org.uk/secret-society-of-leading-ladies

 

Rob Cope