Deep dive into colorful history of Joseph’s coat

By GLENN DOBBS
A Seat on the Aisle

Joseph and the Amazing Technicolor Dreamcoat, or JATD for short, was first conceived as a 20-minute-long Cantata for the Colet Court School in London. This private English high school brought together an 18-year-old Andrew Lloyd Webber and a 21-year-old Tim Rice for their first collaboration. Webber commented, “We were trying to make something that everyone in the school could participate in whether they had musical talent or not.” It premiered in the school’s small auditorium on March 1, 1968.

Both young men were approaching the height of their creative powers. They shared a love for telling stories and musical theatre and for the next 10 years would go on to create some of the most iconic musicals of all time.

Two years after the school cantata premiered, the duo would hit it big with the rock opera Jesus Christ Superstar. They began to cast about for their next project. They revisited the JATD material and decided to expand the show into a full-blown musical. Although JATD has had some revisions over the last 50 years it has largely remained intact and gone on to become one of duo’s most successful works. By 1982 the show made it to Broadway receiving nominations for best original score and best musical and ran for 747 performances before closing.

However, it was the show’s life after Broadway that it found its most lingering endurance. JATD became a perennially popular touring, school, and amateur production. Even today, after 50 years, there is almost always a JATD production somewhere in the world.

So it is that Joseph in all its kaleidoscopic glory descends on the Tarkington stage in Carmel as part of Civic Theatre’s current season. What sets JATD apart from other Webber shows is the variety of musical genres it presents. Like its cantata roots we are presented with French ballads, calypso, traditional anthems, rockabilly, disco, and even country and western songs. The result is an infectious kitschy weird mix of music that somehow just works.

The show features such a huge cast that it is difficult to pick one standout over the other. The whole thing just mashes together in a colorful stew. The entire cast was wonderful. As my wife and I drove home we discussed what impacted us the most.

You have to single out Colton Woods who makes his Civic debut in the title role. His performance was mature and remarkably poised despite his young age. His strong, warm, and clear voice easily handled the material. In one of the few reflective numbers in the show, his poignant “Close Every Door” was particularly effective. Mr. Woods clearly has a bright future awaiting in the theatre.

In a similar vein, Kelsey McDaniel shined in the role of the Narrator. She has more stage time than Joseph and holds the rather loose story together as an anchor between disparate scenes. Ms. McDaniel’s voice was a mature clarion instrument easily taking on the complex lyrics of Tim Rice. Her presence on stage was commanding and impossible to ignore. Her natural charisma and smooth vocals were a pleasure as she would knowingly wink at the audience letting us know everything was going to work out in the end.

I loved the muscular antics of the brothers’ ensemble. Despite often moving about on stage essentially as one living organism, each actor was able to create a unique often hilarious character. From this goofy group, several of the actors had an opportunity to stand out. Austin Stodghill as Dan was hilarious in the country and western number “One More Angel.” Similarly, Jack Tanselle was delightful in the loopy French cafe ballad number “Those Canaan Days.”

Michael Krauter drew the task of the scene stealer of the production. As Pharaoh he was the highlight of Act 2 as he channeled Elvis with “The Song of the King.” Krauter was hilarious. Here you can clearly see the genesis of the later Lloyd Webber creation of Rum Tum Tigger in Cats.

If there was one element in JATD that was crucial, it has to be the choreography. It is rare in a non-professional production with volunteer actors to see such mature developed dancing of this high caliber. The numbers were joyous and full of life. My compliments to choreographer Anne Beck and her team for crafting such unabashedly fun dance numbers.

Michael L. Lasley, the long-time artistic director of Civic, once again helmed this production. This is the 10^th time Civic has presented this 50-year-old musical. Judging from the enthusiastic, sold-out house it is easy to see why he has returned to the material again and again. People love the show. In fact, he shared that 838 local artists have been a part of a Civic JATD production since 2000. Mr. Lasley capably moved the huge cast around the stage smoothly and with aplomb. He even inserted local humor references to add to the fun. This is no easy task. There are 51 young actors in the children’s choir alone. The production design was spectacular. Well done!

It is said by some that Joseph is an immature work and lacks the gravitas of Rice and Webber’s later work. There is some truth to this assertion. Watching Joseph and the Amazing Technicolor Dreamcoat is a little like skipping dinner and going straight to dessert. But who cares? It is great fun. And who in the world would say no to a delicious piece of cake?

Bottom line: Highly recommended. Fast paced, goofy, and family friendly fun presented at a professional level. I encourage everyone to attend.

Joseph and the Amazing Technicolor Dreamcoat continues at the Booth Tarkington Theatre in Carmel through May 10. Tickets can be obtained at civictheatre.org/joseph.

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