BWW Reviews: JOSEPH and His Fading Dreamcoat

Anyone familiar with the musical Joseph and the Amazing Technicolor Dreamcoat would know that it's one part kitschy and one part pure entertainment. It's meant to be a fun and over the top Broadway hit -frankly, there's nothing wrong with the quality showmanship required for this particular musical. Almost no dialogue is merely spoken - audiences are constantly bomarded with songs that play out one right after the other with the expectation that each will be a show stopper. It's what audiences expect. It's what has kept the otherwise unimpressive musical alive for so long. There is no Les Mis depth to keep audiences intrigued or the characterizations of Sweeney Todd to pull people to one character's defense over the other.

But it's fun. And it brings back the light heartedness that used to cover the stages of Broadway.

In the two hour span of the forty six year old production penned by Andrew Lloyd Weber and Tim Rice, audiences are meant to be transported into a dream sequence where certain elements do not have to make sense. That, unfortunately, is exactly what happens with the latest national tour of the show.

These confusing elements showed themselves in the peculiar modern additions added to the production. Lingo, body language, and added promiscuity did not make the show seem 'hip and fun' as certainly it was meant to. By combining these new moments into an aging show, it simply reminded audiences how dated Joseph has become.

If modernization is the key, it takes more than a few added hip-hop dance steps and phrasing to get the show up to speed.

While trying to revamp a show that's been performed for nearly five decades, it seems that the soul of the show itself is struggling. Joseph is the story of a young man who is sold into slavery, thrown into prison, and eventually has to rise up above it all. Though this is a family oriented show, the plot is heavy - evidently a bit too heavy for leading man Ace Young. There is no denying that Young has incredible vocal strength with his singing background, but he simply does not bring enough variance to his interpretation of Joseph. His one strongest moment as a changing character was during the song 'Close Every Door' when he finally showed genuine vulnerability. If this development had continued, since Young obviously has the talent to bring it about to begin with, Joseph would have held a great deal more resonance with his spectators. He has to be more than a pretty face with an equally pretty voice.

In a show completely driven by spectacle and song, the Narrator has large shoes to fill. Young's wife Diana DeGarmo plays the part with charm and grace. Her vocal tone was exactly what the role required. When paired with her quirky miming or her bright smile, Young's performance became stronger. In one of the final numbers, the two are finally alone on stage and their off-stage love shines brighter than the multitude of lights surrounding them. This is the moment that Joseph's soul is revived because the performance is completely genuine.

This tour may have its flaws but its secondary casting cannot be called one of them. Paul Castree as the sly Simeon enchanted audiences during his spotlight performance of 'Those Canaan Days' and Brian Golub's Reuben was skillfully played. Castree and Golub were both tasked to lead two of the biggest choral numbers. These songs delighted audiences mainly because these two gentlemen were highlighted within them. Shows with monumental choruses such as Joseph often leave talents like these in the back without a chance to shine. Luckily the modernizing did not do away with their segments of stardom.

Really all of the chorus members, particularly the brothers, were strong and brought more heart to the production. Their ranges are captivating considering they have several roles to play throughout the show and should be commended for the immense work they did to get to such a bonded group of performers.

While the performers were artfully undertaking the incredible choreography of choreographer and director Andy Blankenbuehler, it was difficult not to observe the projections designed by Daniel Brodie. Brodie repeatedly transformed the stage from Egyptian pyramids to sea to anything one could ever dream of. Brodie's design is every abstract director's dream. He kept audiences in their dream-like state while providing the multitude of locations the show demands.

What the tour brings to the table is a concept - a revamped version of a show that so many have enjoyed. Incredible performances, dance numbers, and visual effects that mesmerized the nearly full house. However, this kind of revision is never perfect the first time. If the person who dreamt up this new concept believes it can continue on and become a better version of itself, then it will. As long as the spirit of the show stays alive a dreamer can do anything.

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