Way, way back, nearly fifty years ago, Andrew Lloyd Webber and Tim Rice penned a fifteen minute ‘pop-oratorio’ called Joseph and the Amazing Technicolor Dreamcoat.

I would spend hours as a youngster listening and singing along to the original concept album (expanded by then to thirty-five minutes) with David Daltrey as Joseph and Tim Rice himself as Pharaoh and now, time traveling to 2017, here I am at the Wellington Opera House with my own 6 year old. This musical is certainly one that has stood the test of time and has been updated and extended several times to attract a new generation and utilise the ever-growing tech possibilities in theatre these days but also taking the older generation down a nostalgic memory lane.

Lunchbox Theatrical Productions brings the latest adaptation of the biblical story of Joseph to New Zealand theatre goers. They are not strangers to our theatres having brought Annie, The Sound of Music and Singing in the Rain to our shores over the past few years.

Right from the overture, musical director Louis Zurnamer sets the pace leading the 13 piece live band. I believe most of the instrumentalists are NZ musicians with a handful having travelled with the company from South Africa.

The company rocks us through the story which, with the addition of several new songs and dance numbers, has now lengthened by seven times the 15 minute original.

Jacob has twelve sons and Joseph is the favourite, much to his brothers’ distain. Their jealousy compels them to sell him and pretend to his father that he is dead. Joseph, through no fault of his own, lands in an Egyptian jail. Luckily he is an expert dream interpreter and manages to score himself a fine job in Pharaoh’s court. All’s well that ends well and he and his family are eventually reunited.

I don’t think I’ve ever seen the Opera House stage look so big. With the sloped stage built on top of the Opera house stage, it makes the viewing much better.  The backdrop uses the full height and breadth of the stage with very little added set; instead the cast use the dramatic action, dance numbers and lighting to activate the space.

With the epic lighting design by Gareth Hewitt Williams, this touring company doesn’t need the extra set luggage.  Lights shine in and out from every angle creating mood and scene location and must utilise every possible shade and revolving option.

The costuming echoes and reflects the colour themes with tie-dyed shirts and ripped jeans giving a country grunge kind of feel for the brothers and the sequined Egyptian styles sparkle. The urban styled white outfits are an excellent canvas for the extra vibrant lighting extravaganza in the finale megamix.

The company exudes life and energy while executing Duane Alexander’s stylised choreographies. The performers show off their triple threat talents through the many styles of music and dance – everything from hoe-down, contemporary, jazz, hip-hop, acrobatics and even an Angel riding a mini segue gets a cameo outing.

Overall the singing is tight and strong with occasional loss of clarity into the band, but the voices sound somewhat tired on this opening night in Wellington after a season in Auckland and Christchurch, particularly Nadine who plays the Narrator. This role is the vital connection between all the characters and the audience, adding meaning and detail and moving the story along.  Her voice tonight just doesn’t seem to have the continuous power this role requires although she delivers the character well. It does seem as if she is reserving her energy for the moments where it’s essential to belt out the songs.

Earl Gregory playing Joseph gives us a warm and measured performance but lets his voice fly wonderfully in the sorrowful ‘Close Every Door’.

There are a lot of great moments throughout the show, particularly the expressive (expressif) ‘Those Canaan Days’French pastiche, the burlesque style Potiphar household and the caricatured send up western styled ‘One More Angel in Heaven’.

The real showstopper is of course Pharaoh and his Elvis impersonation. This part has always been the crowd-pleaser, just like Herod’s song in Jesus Christ Superstar.  Jonathan Roxmouth’s performance is faultless. He is ‘Mr Personality plus’ and his comic timing is perfect. A surprise moment is the newest addition to this Joseph blockbuster: an Elvis ballad that smashes through the fourth wall. Listen very closely to the words.

This show has a good-natured feel to it with plenty of theatrical escapism. But I wonder if, over time, the simplicity of the original story has been lost with the theatrics which although they are clever and entertaining over shadow the moments to reflect on the plight of Joseph’s journey and reconciliation. There is a rare and beautiful moment of stillness as Joseph is realising his brothers are ‘changed men’ and he is about to reveal himself when suddenly that poignantly charged moment of transition is interrupted and turned into a bit of a circus with the Benjamin Calypso. A fun song in its own right, adding flavour and frivolity, and one that certainly appeals to my daughter but my question is: does it enhance the story line? Or does it detract from it and make this more about the showcasing and less about the plot?

Don’t get me wrong, this is a polished and enjoyable production and from the response of the huge audience attending, the majority have a ball.

Even though I’m questioning – how much is too much in the development of a well-known piece of theatre? – this does not reflect on the performance of this company. If you are a fan of Joseph and looking for a fun night out or want to introduce younger family members in particular to the thrill of musical theatre, then this will certainly get them excited.

Copyright © in the review belongs to the reviewer

When I think of Joseph and the Amazing Technicolour Dreamcoat, I think of a family-friendly musical with a semi-religious plot and songs they made us sing at school.  

I hadn’t remembered it as a vibrant, timeless show. But that is what’s on offer at Wellington’s Opera House right now.

Joseph is the first Tim Rice and Andrew Lloyd Webber production ever staged and my misconceptions that it may not have aged well are wonderfully disproven by this production. [More]

Copyright © in the review belongs to the reviewer

The playful retelling of this Biblical story has resounded from school hall to amateur theatre to seriously fancy showbiz events without losing an iota of its charm. The touring South African production is an exuberant take on this sung-through musical, calibrated for today’s expectations of dash and dazzle. It is a blast.

Fortunately, Narrator Nádine is in control of linking the hectic events resulting ‘way way back’, when patriarch Jacob favours the one dreamer amongst his twelve sons over the rest. Poor Joseph is handed over to some Israelites, headed for Egypt, by his jealous brothers; sold into slavery and very nearly seduced by his master’s wife, just as things were looking up. In gaol he almost loses his own dreams, but good fellow that he is, manages to translate the dreams of his two fellow prisoners.

That turns out to be a good move as the mighty Pharaoh himself is beset by curious dreams and needs of a good interpreter. Joseph is the hero who can deliver enlightened advice in the face of a terrible famine and eventually forgiveness to his own family. Perseverance, self-belief and good behaviour are the winning combination.

None of this really matters; indeed it is rather overshadowed by the elaborate manner of its presentation. What does stand out is the exuberance of song and dance, whirling colour and spectacular lighting (Gareth Hewitt Williams’ design) which characterise the show. Choreographic stamina and musical talent abound, endowing episodes with a whole range of styles including western, jazz, calypso, French café ballad and Elvis rock ’n’ roll. This essential playfulness extends to visual gags with Donald Trump and that airline. The effect is highly entertaining. 

Costuming from Niall Griffin’s design is freshly contemporary with sneakers and hot pants as well as technicolour abundance and clever visual references at every turn, often combined with sound effects and technical wizardry. Matt Coplan (originally Mark Malherbe) and Ricardo Abrahams are credited with these respectively. Driving it all along are the musicians in the pit, having a great time with a generous complement of instruments, colouring Lloyd Webber’s songs with gleeful zest.

The cast is at one with the spirit of the production, from strong choruses to high impact principals. The Pharaoh, Jonathan Roxmouth, has a head start in his Elvis persona and is the darling of the night, though Earl Gregory’s Joseph and Nádine’s Narrator are right there.

The dream in this case is possibly lost in the frenzy but no one is disputing the impact of its interpretation. For its sheer verve, colour and musicality the show is a triumph.

Copyright © in the review belongs to the reviewer