There is a voice of criticism from a portion of theater-goers that certain musicals, while full of spectactular stage-effects and brilliant vocal performances, give nothing so far as significant storylines and profound thematic claims. "Joseph and the Amazing Technicolor Dreamcoat," an Andrew Lloyd Webber musical based on the Biblical story in Genesis Chapters 37 to 46, is one musical that has received such criticism.
The Livent, Inc. production now showing at the Fox Theater in downtown Detroit does nothing to dispel any of this criticism. It does, however, serve a special purpose. By involving local children's choirs in slightly more than cosmetic roles, this production of "Joseph" makes an effective and powerful effort for the industry of theater to establish its roots among children. The children acting as an audience for the Narrator (Robin Lyon) gives the opening sequence a Sunday school feel and sets the tone for the musical to come.
The point of this musical, which began as a 20-minute entertainment sketch for a London prep school's award ceremony in 1968, is more of a celebration of itself and musicals in general. The reception its original showing received by the London Sunday Times caused Webber and lyricist Tim Rice to expand and record it into a form similar to today.
The lead role of Joseph, originally assigned to Donny Osmond who had to bow out due to a ruptured vocal chord, instead was given to Sam Harris who worked the Joseph role for the American touring production. Harris' performance was powerful and inspiring. Belting out the final notes from songs like "Close Every Door" and "Any Dream Will Do," one thought perhaps that his vocal chords would rupture, yet he continued to punch every song home.
Perhaps the most distinguishable feature of Webber's first musical was the incredible diversity of the songs. Webber ranged from gospel-esque with refrains from the Narrator to Country-Western with "One More Angel in Heaven" to an Elvis-style rendition of "Song of the King" to calypso with "Benjamin Calypso" to finally the French chanson-style "Those Canaan Days."
The lyrics, written by Tim Rice who also worked on "Aladdin" and "The Little Mermaid," are at many points humorous, as well as touching, like "Do what you want with me, hate me and laugh at me / Darken my daytime and torture my night."
The energy and enthusiasm with which this production was performed was intoxicating, drawing the audience into the action. Company dance numbers were never boring, opting for large company numbers more often than solos, keeping everyone involved. Even the children were getting into it, laughing and smiling throughout.
Perhaps the laughter was the most significant aspect of the evening. The children were laughing and the audience was laughing. It is not often that adults and children alike can find humor from which both can laugh, but this production gives it to us. The most endearing quality to this production was its refusal to take itself seriously, which in effect co-opts the major criticism of this musical: that it does not really say anything.
The message perhaps is all too clear. With its simple but somewhat addictive tunes, with its family-oriented atmosphere, with its energy and humor, this musical could be seen as a response to all those crying out to Hollywood to discipline itself. Hard to believe it originates from a Biblical story dealing with familial betrayal, slavery and pride.