Daniel A. Swalec
Joseph and the Amazing Technicolor Dreamcoat
Joseph and the Amazing Technicolor Dreamcoat has jumped and shimmied its way to Overture Center (through Nov. 30), injecting biblical tales with new energy and a host of special effects. It's accompanied by a bouncy pop score by Andrew Lloyd Webber, once the king of London's West End.
Workshopped several times as a short liturgical piece with a modern score, Joseph was first produced as the follow-up to the popular Tim Rice and Lloyd Webber collaboration, the rock opera Jesus Christ Superstar. For many years it was relegated to the "early work" category, while Lloyd Weber megahits like Evita, Cats and Phantom of the Opera (and even Starlight Express) garnered awards and mesmerized audiences. Then in the late 1990s, unlikely Broadway star Donny Osmond revived Joseph, and a whole new fan base started humming "Jacob & Sons" and "Any Dream Will Do."
Judging from the full house in Overture Hall, Joseph is a hit once again, with its collage of musical genres, a classic story of good triumphing over all, and the over-the-top trappings of a big-budget Broadway show. It also boasts two former American Idol contestants (now spouses) in the lead roles of Joseph and the Narrator.
As Joseph, Ace Young is a likable protagonist who can interpreting dreams and inspiring jealousy among his 11 brothers. His voice is much better suited to breathy love songs than musical theater ballads, but he hits his mark in the myriad dance numbers. With chiseled abs and long, dark locks, he looks the part.
The other star of the show is Narrator, portrayed by Diana DeGarmo. She engages the audience as she sets the scenes and moves the action along on stage, even if the part strains her upper range. At times, it sounded like she was fighting to be heard over the live pit orchestra.
Joseph is a great ensemble show, and the supporting cast provides standout performances. Ryan Williams delivered a fantastic Pharaoh-as-Elvis number at the performance I attended. Paul Castree's "Canaan Days" and Max Kumangai's "Benjamin Calypso" were delightful highlights of the second act.
The encores to the encores, which culminates in a 10-minute recap of the entire show in a "Joseph Megamix," borders on too much of a good thing. But the big dance numbers, extensive use of film projections, and Las Vegas-like lighting effects and costumes are all part of the spectacle that make Joseph so much fun.
