David Mirvish/Joseph and the Amazing Technicolor Dreamcoat, music by Andrew Lloyd Webber, lyrics by Tim Rice, choreographed by Joann M. Hunter, directed by Laurence Connor, Princess of Wales Theatre, Dec. 11 to Feb. 18. Tickets available here.
This 2019 London production of Joseph had some big shoes to fill. Those of us around in 1992 fell in love with the imaginative 1991nversion that hit town at the Elgin Theatre on its run to Broadway, directed by Steven Pimlott, choreographed by Anthony van Laast, and starring Donny Osmond.
And the verdict? This energetic Joseph, that celebrates the musical’s 50th anniversary, is thoroughly engaging. It’s the type of production where you grab grandma and the kids and head to the theatre. I do have one serious complaint about the very ending, but in no way does that detract from the vibrancy of the show, which is non-stop vim and vigour, sparkle and dash.
Joseph began as a 15-minute pop cantata written for London’s Colet Court School by the astonishingly young Andrew Lloyd Webber, 19, and Tim Rice, 22. After that 1968 debut, Joseph kept increasing in length by degrees until it became a full-fledged West End show in 1974. By all accounts, this version is the 7th revival. In fact, somewhere in the world, there is a production of Joseph going on if you count the over 50,000 amateur theatre and school shows that have taken place since Joseph’s premiere.
So what is the lure of Joseph? For me, it is the pastiche music. Webber and Rice wrote the songs in all different kinds of styles, and considering their young age, this was a marvel indeed. You have ballad, jazz, country, 1920s Charleston, Yiddish/Hebraic, 1970s rock ‘n’ roll, Elvis-style, torch song and calypso. What I look forward to is the treatment that the director and the choreographer are going to give each song.
In this case, director Laurence Connor and choreographer Joann M. Hunter have pulled out all the stops, and have produced eye-catching production numbers that imbue the show with vivid colour. For example, Go, Go, Go Joseph, the 1970s pastiche, is performed in amusing fashion by cheerleaders and a sports team. And I’d like to add how nice it is to have an orchestra in the pit again under the lively conducting of John Rigby.
Morgan Large’s lavish sets and mostly period costumes dominate the stage. His Egypt set, in particular, is mind-blowing in its authenticity. Kudos also to Ben Cracknell for his lighting, which adds just the right touch of colour (or gloom) when needed. There are also two bicycle camels (and a goat) that are screamingly funny.
The show is built around a children’s chorus. In the 1991 production, school classes were brought in to perform this duty and sat by the side of the stage. The innovation in this version is to integrate eight local children actually into the production. There are 16 kids listed in the program, which means two alternating teams.
When I say integrate, I mean exactly that. They play the four youngest of Joseph’s brothers, the butler and the baker, and one is even Potiphar. In other words, they have a lot to do, and do it very well. They even get their own biographies in the program.
Joseph is performed by Jac Yarrow who had just graduated from arts college in 2019 when he got the role. Joseph is his first professional production. Imagine being nominated for a Best Actor Olivier Award for your very first show!
A bit of a Donny Osmond look-alike, the very tall Yarrow brings a burst of youthful energy to the stage. It is inspired casting to have a young Joseph. Interestingly, he can sing a quiet ballad with heart-felt emotion, but when he has to, Yarrow can let things rip, and can become a belter. I actually heard Les Miserables in his voice, that’s the power he has. It will be interesting to watch his career develop from here.
Vanessa Fisher is the Narrator, but she also plays Jacob and Potiphar’s Wife. The lady can sing and dance and act up a storm. She really carries the show, and is a towering talent. Tosh Wanogho-Maud is the very funny Elvis-style Pharaoh with a deep basso profondo voice who probably has the sexiest hips in Britain. His one problem is diction, but this guy can move.
The three brothers who get solo songs are Reuben (Matt Gibson), Simeon (Will Hawksworth), and Issachar (Shane Antony-Whitely), and are all suitably engaging. The adult chorus can sing and dance with aplomb. They also have an enthusiasm which is infectious.
In reality, Joseph is a short show, with the length being pumped up by the production numbers. To make the musical even longer, convention has most productions end with the Joseph Megamix, which is a reprise of the major songs — and this is where my anger kicks in.
After the finale, with its well-deserved standing ovation, the Narrator — Vanessa Fisher — asked if the audience wants more, and of course, the answer is yes. And so, the audience settled down to watch the “more”. At this point, Fisher said something, which I didn’t catch, that made the audience stand up again.
So the rather longish Megamix was performed before a standing audience. Around me, you could see short people straining to see the stage, instead of comfortably sitting in their seats. In my case, I couldn’t stand because I have a disability. In other words, at this point, I soured on the show.
From what I could see by hanging sideways into the aisle, which was just a tiny corner of the stage, the Megamix was entirely choreographed. How interesting it would have been to watch how Hunter melded the songs together by movement, but, alas, that was lost to me, and I became very angry on behalf of people with disabilities, and for those who are short, or old, or anyone who has trouble standing for a length of time.
Why on earth this production doesn’t let the audience sit through the Megamix I do not know, but this has to stop immediately. Fisher has to tell people to sit down and enjoy the post-finale. I am really, really mad at losing out on the Megamix.
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