BWW Reviews: JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT at Saenger

Andrew Lloyd Webber is a household name for many fans of Broadway. From his mega-hits ranging from Cats to Phantom of the Opera, everyone knows his works. The Saenger Theatre is no stranger to the genius of Lloyd Webber either, having housed the current tour of Phantom of the Opera earlier this season. This past week they have housed another Lloyd Webber creation of JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, best known as the first Lloyd Webber musical to be professionally produced.

The story of JOSEPH takes us back to the days of the Old Testament, centering on the Bible story of Joseph and his coat of many colors. The piece is almost entirely sung-through, telling Joseph's journey after being sold into slavery by his jealous brothers and spending years imprisoned before eventually winning the favor of Egypt's Pharaoh. He gains the monarch's attention through his ability to interpret dreams and predict the future, gaining his freedom and apposition of influence, which ultimately allows him to reconcile with his family many years later.

For many, this musical is considered "Bible lite" as it's sans religion. Aside from the comedy about slavery and oppression, JOSEPH is actually a pretty good time, and the high energy at the Saenger is "testament" to that. Director/choreographer Andy Blankenbuehler has a company capable of withstanding energetic dancing throughout the show's 90 minutes of stage time, which feeds into the audience's own energy.

For American Idol fans in the audience, former contestants Diana DeGarmo and Ace Young truly seemed like a marriage made in heaven for their key roles of Narrator and Joseph. But looking good is not enough to keep the real-life married couple in the spotlight. While DeGarmo displays subtle charm, making for a promising Narrator, her voice comes across as too forced during her high notes, and she lacked the diction needed to tell the story. Since JOSEPH is comprised of mostly singing, if you weren't glued to the action, you wouldn't know the story she was supposedly telling. And at first glance, with his chiseled physique, you would think Young is the stuff Joseph's visions are made of, but sadly, he doesn't hold a candle to the Josephs of old, such as Donny Osmond or Patrick Cassidy. The role of Joseph needs to command the center of the story, but Young falls short in that regard, since he always appeared to be performing on the same level no matter the circumstance.

Though the sexiness quotient was amped up for adults by revealing some of the actors' skin in shirtless or halter-topped costumes, the show remains quite kid-friendly even when Joseph is seduced by the wife of his Egyptian employer. Adults won't have trouble figuring out what's going on beneath the sheets, though they may just have to explain to their children why Joseph got in trouble for wrestling. If you're expecting an extravaganza along the lines of The Phantom of the Opera you'll be disappointed. The show is not of the same spectacle caliber, though it is far grander in the walls of the Saenger than the previous showing of ONCE. The costumes are colorful and fun, and the sets are really little more than drapes hung behind the playing area with most of the visual backdrops provided through projections and lighting effects.

However, the lack of a grand set leaves room for what this show does best, and that is the choreography. It is the high-octane choreography that give this show the life it deserves. Taking a cue from Mamma Mia, the show ends with a mega-energy, highly amplified "Joseph Megamix" finale where Blankenbuehler's choreography brims with a sense of vitality and youth that leaves audiences on a high note. The art of choreography is truly at its best with JOSEPH.

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