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What
do trapeze artists,
jugglers, gymnasts,
magicians and Elvis
have to do with Genesis and the parable of Joseph and his coat of many colors? In a dazzling new holiday production that is the brainchild of director/choreographer Marc Robin, Lancaster, Pennsylvania's Fulton Theatre has created a breathtaking spectacle that uses Cirque du Soleil, Las Vegas, and colorful magic as its context and surprises at every turn while somehow retaining the tender message at the heart of the tale. The very juxtaposition of styles and concepts not only gives Robin's production a sublime timelessness, but it joyfully reflects the spirit of the beloved Andrew Lloyd Webber/Tim Rice musical.
When Lloyd Webber and
Rice composed Joseph
in the early 1960s, it
was their first
experiment in casting
a classic Bible story
as a rock musical.
Layering onto the
ancient narrative the
pulsating and catchy
rhythms of rock and
roll, the sometimes
sassy, often sweet,
modernized lyrics, and
the glamour and glitz
of a variety of
contemporary popular
musical genres, Webber
and Rice made Joseph's
tale accessible to a
broad audience, while
amplifying the sense
of wonder and magic of
its message.
Robin's new re-telling adds wonder upon wonder, thrilling visual, aural,
and kinetic sensation and surprise in an evening that leaves the spectator
breathless. This production is grand in every sense of the word from the
fifty-person cast, to the twelve-person orchestra, to the glittering décor and
video projections, to the special effects, and aerial feats of the artists. But
perhaps it is Robin's inventive, athletic, challenging choreography,
executed by a superlative and fearless ensemble, that crowns the entire
experience. From the foot stomping Country Western hoedown ("There's
Another Angel in Heaven"), to the infectious hip-swaying humor of
"Benjamin Calypso," to the numerous solos for individual artists that
punctuate the tale and fuse the flow, Robin's fertile imagination and
versatility are on display. And there is his wit, as well, in moments like
"Those Canaan Days" and in the entire Pharoah/Elvis sequences, and his
intensity and heart in the core scenes for Joseph. Finally, there is the
fifteen-minute-long Megamix which, does not merely recap but shines with
new energy and ideas.
Musically, this production sparkles with added depth and dimension. The
orchestra under the baton of Ben McNaboe makes a sometimes-slender
score sound magnificent, and the vocalism of the cast rises to the occasion.
The decision to use three narrators, instead of one, is brilliant – adding
more gravitas to the recounting and also creating a stunning blend of
three stellar voices (Katherine Alexis Thomas, Daniela Dalli, and Donovan
Hoffer), and the addition of an eighteen-member children's chorus
completes the pageantry.
Technically, the Fulton has pulled out all the stops, showcasing its many
new technological upgrades. In the hands of Scenic Designer William
James Mohoney and Video Designer Colin Riebel, the seemingly endless
possibilities of the new video wall technology create stunning location after
location or simply pulsate with abstract color, form, and movement, while
Lighting Designer Paul Black layers on rich, emotion-laden hues. Props
Designer Katelin Walsko (Meg Valentine, Assistant) deliver some
astonishingly impressive special creations like the chariot of gold or
Pharoah's "Studebaker." Anthony Laskoskie, Jr.'s costume designs (Kevin
S. Foster II, wigs) are suitably spectacular – creations of glamour and
whimsy crafted from sparkling fabrics - ancient inspirations transformed
into Las Vegas glitter.
The entire cast bedazzles from first bars of the overture to closing moments
of the Megamix. The eighteen children add an element of warmth and
ingenuousness and preserve the thread of simplicity and sincerity in the
story, while the fifteen-person ensemble dart seamlessly from role to role,
all of them skilled vocalists and dancers, some – like Kourtney Keitt as
Potiphar's Wife or Joshua Bellamy in several dance solos - gifted with a few
moments to shine individually. The eleven brothers offer some of the most
thrilling moments of dance, acrobatics, and colorful storytelling. Among
them, J.P. Qualters (Levi) delivers a rousingly funny and energetic "There's
One More Angel in Heaven"; David Buergler (Reuben) is slyly funny in his
parody of a French chanson in "Those Canaan Days", Darius Harper
(Judah) is irresistibly cheeky in "Benjamin Calypso," and Dylan Loraw is
winningly youthful and innocent as Benjamin. Jonathan Bryant (Simeon),
Willem Butler (Gad), Alejandro Muller Dahlberg (Napthali), Devin Neilson
(Zebulun), Dan (Alex Joseph Stewart), Richard Thomas (Issachar), Daniel
Velasquez (Asher) each brings his special skills and irrepressible energy to
the roles.
Blake Hammond gives a masterful and touching performance as the
patriarch Jacob, then switches gears to play the terrified Butler and a
pompous Potiphar. The trio of Narrators proves a powerful invention. Not
only does their music benefit from three very different vocal ranges and
timbres to articulate the twists and turns of Joseph's narrative, but the
blend achieved when they harmonize is all the more powerful and unique.
Donovan Hoffer singing in the high almost countertenor range brings true
rock intensity to his part; Daniela Dalli adds dark dramatic color, while
Katherine Alexis Thomas brings a wistful lyricism.
As Pharoah, Curt Dale Clark dominates the second act with his note-
perfect, witty parody of the King of Rock and Roll, Elvis Presley. Not only
does he sing "Song of the King" and "Stone the Crows" with the velvety,
seductive, robust tones reminiscent of Elvis, but he gleefully engages the
audience in amusing repartee, as he wanders among the spectators in an
hilarious improvised sequence – different each night.
As Joseph, Jake Levy makes the perfect foil to all the other larger-than-life
characters. He projects a luminous inner strength and sweetness, and he
proves himself to be an extraordinary vocalist, pouring out his two ballads,
"Close Every Door" and "Any Dream Will Do" with soul-wrenching power.
When this remarkable cast comes together to sing their hearts out in the
final Megamix, the audience is swept off its feet by the sheer glorious
sound, the intensity of the emotion and the beauty of the spectacle. But
something else transpires at the final curtain of this Joseph. Amid the
frenetically joyful activity - jugglers, acrobats, golden confetti raining down,
Joseph rising high above the stage in a moment of apotheosis – there is a
curious sense of inner quiet, of an elation so tender and luminous that it
outshines all the glitter. And that joy comes from the celebration of the
core message of Joseph and the Amazing Technicolor Dreamcoat: that of
brotherhood born of compassion and forgiveness.
Photos courtesy Fulton Theatre
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