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Photos by Amy Pasquantonio
By Britin Haller
Joseph and the Amazing Technicolor Dreamcoat, playing into next month at the Wick Theatre & Museum Club in Boca Raton, has something for everyone, or as Donny Osmond would tell you, it’s a little bit country, it’s a little bit rock ‘n roll. But to be fair, it’s also not for everyone.
After appearing as the lead, both in the film version and on stage for five years, it’s fitting that Osmond is known as the face of Joseph.
The songs by Andrew Lloyd Webber and Tim Rice are an eclectic group. At times, you will hear variations of country, rock and roll, the Charleston, a mock-up of a French ballad, a go-go, some funk, a little mambo, some jazz, a tango, and a Calypso. And probably a few others as well.
The plot revolves around the Biblical story of Joseph and his coat of many colors. As the tale goes, his father, Jacob, had four women, pretty sure all at the same time, but let’s not talk about that, and a multitude of offspring, twelve sons and a daughter, to be exact. That we know of anyway. His wife, Rachel, was his favorite, and as Joseph was the first son they had together, he was Jacob’s favorite as well.
Jacob wanted to let Joseph know how much he loved him, and so he gave him a beautiful gift, but more than to keep him warm, the dreamcoat signified Joseph would one day rule the family. This was an honor that should have gone to the oldest son, Reuben, and boys being boys, they were jealous, and so the brothers not only stole the coat, but sold Joseph into slavery.
Joseph is taken to Egypt where his boss’s wife aggressively tries, and fails, to have her way with him, and in retaliation for being so desirable, his employer throws Joseph in jail. But just when we think our hero is doomed, the tides turn, enabling Joseph’s happy ending after all.
The cast and crew are enormous, over sixty individuals in total had a hand in this, including an ensemble of twenty-three, and a children’s choir of sixteen, although only eight appear at a time. While we won’t be mentioning every name, please know that you are recognized, and we acknowledge your fine work.
Joseph and the Amazing Technicolor Dreamcoat is what is known as sung-through, meaning there is little to no spoken dialogue, and the plot advances through the lyrics. Interesting approach, but one that can be off-putting for some, especially those who don’t know in advance what is happening, or those who have trouble following along. It can be more difficult to understand dialogue when it is sung, because of a few factors including rapid pacing, slurred enunciation, modified vowels, elongated or shrunken syllables, or if it is not in your native language.
Guided by a modern-day narrator under the guise of explaining the story to her young students, Joseph and the Amazing Technicolor Dreamcoat is not hampered by normal restrictions and makes no real sense on the surface. Rather this is pure camp all the way. Nothing, including breaking the fourth wall, and the fact these musical genres didn’t even exist in this era, is taken too seriously.
As Joseph the dream interpreter, Stephen Christopher Anthony looks the part, even in a loincloth. This is his first Wick appearance, but New York and Miami theatergoers will know him from Broadway’s Dear Evan Hansen and Legally Blonde the Musical, the latter having been reviewed by this very critic for Florida Theater on Stage. Anthony excels with his gorgeous vibrato, and his high countertenor notes are a wonder indeed. Anthony is mesmerizing during Joseph’s darkest hour in the haunting “Close Every Door,” and with the child’s choir in “Any Dream Will Do.”
As the Narrator, Wick favorite and Carbonell nominee for last season’s Bye Bye Birdie, Leah Sessa has a lot of fun inserting herself into history. Like the time-traveling Mr. Peabody and his pal Sherman, Sessa turns up at the oddest of times to become involved in the action. In “Prologue,” she resembles a Disney princess with her lyrical high soprano, and even though she is terrific and plays the Narrator as it’s intended, one can’t help but think Sessa’s enormous talents are underutilized here.
In a role once inhabited by the fabulous Joan Collins herself, ensemble member, Sabrina Lobner, plays Mrs. Potiphar, the wannabe seducer of Joseph, who dances seductively and straddles him to get his attention. Lobner is a starving man-eater, and this might be a good time to take the little ones to the restroom.
Wick favorite, Troy J. Stanley, appears as both Jacob and Mr. Potiphar. Stanley has an ability to elicit sympathy, and whether he’s mourning the loss of his son, Joseph, or his evil wife is being unfaithful to him, he’s one of those actors you can’t take your eyes off.
Another consistent delight you can’t take your eyes off is Jawan Hayes, who is back as Brother Judah, and also the lead vocal on “Benjamin Calypso.” Hayes once again charms us with a pleasing reggae number. We wish the production would have held for applause at the end, because the crowd wanted to give it, and Hayes deserved it. Clap, clap.
In one of the oddest bits, Pharoah has a pompadour and sideburns, and sings à la Elvis Presley. Aaron Atkinson, who also appears as a brother, has a blast here.
Appearing as Pharoah’s baker and butler are Richaun Stewart and Noah A. Lyon, who also act as two of Joseph’s many brothers. Proving there are no small parts, because these servants are important catalysts in Joseph’s future, Stewart and Lyon are enjoyable to watch.
Michael Scott Ross is the eldest son, Reuben, a bitter, nasty sibling who is crying only crocodile tears when he informs their father, Jacob, of Joseph’s supposed death in the outstanding “One More Angel in Heaven.”
Derik Lawson as fourth son Naphtali gets the spotlight in “Those Canaan Days” a lamentation by the brothers, who by this point are so cold they light a fire in a trashcan, and so hungry they would eat a fly. Beautiful barbershop harmonies, and a sensual tango, make this the stand-out of the evening.
When the eleven bros are all together, it’s always perfect, as in when they rob Joseph of his coat, human-traffic him for some coins, and decimate a goat in ”Poor, Poor Joseph.” Their ensemble consists of Aaron Atkinson, Jonathan Eisele, Jawan Hayes, Cody Knable, Derik Lawson, Quincy Legito, Noah A. Lyon, Michael Scott Ross, Cameron Jaye Scott, Frederick Scott Stampone, and Richaun Stewart.
Two ladies who deserve a special mention are Associate Choreographer Cat Pagano and Dance Captain Melanie Farber. They make quite a team. Here’s to many more shows with these two dynamos. Their popular dance spectacles include “Go, Go, Go Joseph,” a 60s go-go including the kids, and “A Pharoah’s Story” which is fun, and reminiscent of the Steve Martin “King Tut” video.
Using a prerecorded instrumental soundtrack is risky because sometimes there are glitches, as was the case on opening night. While awkward for the cast, it was addressed very quickly, and most of the audience was likely none the wiser. This, of course, in no way took away from Musical Director Bobby Peaco’s excellent work.
A few thoughts … and we’re not going to sugarcoat them …
Any review of Joseph and the Amazing Technicolor Dreamcoat would seem remiss without mentioning the titled piece of clothing, but after all that build-up, would it be fair to say it’s underwhelming? We see it briefly before it’s cut into pieces and spattered with goat’s blood, only to reappear put back together. It’s called a dreamcoat, and Joseph does interpret his own dreams, but never while wearing it, so is it really that then? And what about the colors? The Narrator tells us it has twenty-nine, and Leah Sessa is super-impressive reciting them all for us, but are they trying to pull the lamb’s wool over our eyes? Twenty colors, max. And that’s being generous.
Until you figure out what’s happening, the modern-day attire worn by the Narrator, the youngsters, and some others might be confusing, maybe even more so after you figure it out. But that’s how it’s written, so far be it from us to complain.
At times, you may feel you have whiplash, or your brain is mush, and definitely don’t get too attached to any one thing, because it’s about to change. Anyone familiar with Ken Russell’s film Tommy can relate.
Some of the tunes deserve better lyrics as in “Joseph’s Coat.” And their father “couldn’t see the danger, he could not imagine any danger, such a dazzling coat of many colours, how I love my coat of many colors.” Fans adore Andrew Lloyd Webber and Tim Rice, but they might have considered going back to the drawing board for that one.
If you go to see Joseph and the Amazing Technicolor Dreamcoat, as well you should, consider the following … A sign in the lobby announces a haze and strobe-light warning. Anyone with hearing or learning disabilities may have a hard time keeping up. Joseph is marketed as family-friendly, but there a few times parents might want to cover their child’s eyes, especially during that simulated orgy scene in the first act’s “Potiphar.” A stuffed goat is pretend-harmed to cover the coat with blood, and cannibalism is joked about, which isn’t supposed to be funny in proper society. Just ask the Donner Party.
In the end, lessons such as forgive your enemies, and never give up even when all hope appears lost, are learned. Director and Choreographer Simon Coulthard, who appeared in Joseph on London’s West End in 2007, has this to say. “Joseph and the Amazing Technicolor Dreamcoat offers a timeless reminder that, even in our most challenging moments, a vibrant technicolor perspective can help us overcome.”
Like the adorable children’s choir member who struggled both with holding her battery-operated candle still during “Close Every Door,” and with staying in time during the final encore. We feel ya, sister. But guess what? You got this.
So put on your most colorful attire, and do the King Tut strut all the way to the Wick Theatre & Museum Club before Stephen Christopher Anthony has his dresser steal the dreamcoat.
Tip: After you see Joseph at the Wick, do yourself a favor and watch Queen Joan Collins in the video “Potiphar” from the Donny Osmond movie. It’s a gas.
The musical began as a short cantata written by the then-youthful Webber and Rice for a children’s concert, quickly growing into a full-length production with its professional premiere at the Edinburgh Festival in 1972. In 1982, following the success of the duo’s Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat opened on Broadway and earned seven Tony nominations.
Besides Osmond just few of the Josephs in the musical — which must be playing somewhere around the world at any moment – have including Phillip Schofield, Sam Harris, Michael Damian (The Young and the Restless), Andy Gibb, Patrick Cassidy, and Patrick’s big brother, David. Osmond loved appearing in the show so much he had his dresser steal his costumes after they wrapped, and he’s even worn the dreamcoat while officiating weddings. It was recently announced Osmond will be returning to star in Joseph, but because he’s aged out of the title character, he’ll be playing Pharoah in the upcoming U.K. tour.
Britin Haller is a mystery author and an editor for Turner Publishing. Her latest short story “So Many Shores in Crookland” can be read in the 150th issue of Black Cat Weekly. Britin’s latest edit, a cozy mystery novel called Dumpster Dying is by Michelle Bennington and available where books are sold. Find Britin across social media.
Joseph and the Amazing Technicolor Dreamcoat plays through Dec. 22 at The Wick Theatre & Museum Club 7901 N. Federal Highway, Boca Raton FL; 7:30 p.m. Thurs-Sat; Matiness 2 p.m. Wed, Thurs, Sat & Sun. Running time approx. 110 minutes includes an intermission. Tickets starting at $89. Call 561-995-2333, or visit thewick.org.
