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Joseph and the Amazing Technicolor DreamcoatGrand Theatre, Wolverhampton**** On a wet, windy, wintry Wolverhampton
midweek evening, there has to be a very good reason to go out.
Fortunately, this production of Joseph provides just that reason. Its performed inception dates back to 1968, but
debuted in its full format in 1974, almost half a century ago. It is
broadly contemporaneous with Jesus Christ Superstar, first
staged in 1971, with which it shares numerous musical motifs. But the
latter is strictly rock, while Joseph is pop, with a bit of calypso,
French balladry, charleston, country and western, and 50’s rock'n'roll
thrown in. It is not difficult to see why there have been
well over 20,000 schools and amateur productions. The content is
colourful, family friendly and upbeat, the music melodious, the lyrics
nursery rhyme simple. The trend of casting big names in lead roles,
irrespective of talent, is thankfully waning. The title role is played by Mark McMullan, a Britain’s Got Talent finalist. Popular appeal and a great voice is no guarantee of an ability to carry a flagship musical. However, director Bill Kenwright knows a thing or two about spotting rising talent. That skill has not deserted him. McMullan is tremendous. He can sing, has presence, a powerful physique, and can wear tight trousers with a panache that would make Robert Plant blush.
Pharaoh is in the building: Henry Lawes as Pharaoh . . . the pelvis, with Mark McMullan as Joseph Pictures: Pamela Raith His highlight comes in the penultimate number of
the first Act, Close Every Door, beautifully performed, and
delivered, a performance which will have had the casting scouts for
Les Miserables twitching with excitement. So strong was the
delivery, that the first Act finale, Go, Go, Go Joseph, a
perfectly decent number, seemed routine and perfunctory by comparison. Alexandra Doar co-stars as the narrator, telling
the Biblical story of Joseph, from the Book of Genesis. The thirty plus
children’s chorus is permanently seated on trestle perimeter terraced
seating, serving as a stage audience for her tale, as well as vocal
accompaniment. She is terrific, with a great voice, pizazz in abundance,
and a cheery disposition which never fades. Astonishingly, both Doar and McMullan are making
their professional musical debuts with this production – both are
assured of a long career if they can maintain the levels of performance
they gave on this night’s show. Unusually for a musical, the cast comprises
significantly more men than women. Gary Lloyd has been brought in to
provide new choreography and succeeds in producing numerous eye-catching
set pieces and movement. Including children, there are frequently over
forty people on stage, sometimes around fifty, keeping the stage sharp
is no easy task, but he succeeds admirably. Although this is not a dance
show, it is very pleasing on the eye with the three Handmaidens working
overtime to provide a splash of glamour. The title song is the one everyone knows, and
Kenwright ensures that it is not wasted, as it appears four or five
times in various guises throughout the evening. At two hours running
time, including interval, the show is an object lesson in not
overstaying its welcome. It makes no pretence of great meaning,
grandeur, or depth. Instead it offers wholesome entertainment, with a
light touch and a smile. It thoroughly deserved the rousing applause at
the end from a very well attended opening night, with subsequent
performances until Saturday 29 February. Gary Longden 23-02-20 |
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