At the opening to this musical, the narrators ask if you would like to hear a story. You may wonder at this point if it was worth spending your money on. My answer to that question: yes, very much so. It is a crime not to. For all its flaws, this is a well done musical adventure, full of humor and fun.
Now, to get those nasty flaws out of the way. I will spare you the plot summary, and go into the review itself (the story is that of Joseph, son of Jacob, in the book of Genesis. It is all there for your reading pleasure.) Now, as can be expected from a school that emphasizes its choir program, the singing was great. Tucker Wheatley, in the title role of Joseph, performed superbly, clearly enunciating, hitting his notes well, and with good volume (how much of the volume was the sound technicians, I am not sure). Laura Anderson and Brook Hostetter as the narrators also had sterling performances (good endurance). Aaron Brydge has my vote for the most memorable solo not featuring Tucker, with “Canaan Days.” The singing was superb. However, the dancing wasn’t. True, it did show practice and effort, but it still felt forced at times. Especially the rainbow scene, which was synchronized well but didn’t feel natural. It felt like the dancers were put onstage just to do something to fill space (the fabric wheel certainly added to the feel of the musical though). The period dancing felt like all period dancing: dated (do you ever do "The Monkey" anymore? Yeah, I thought so). Still, it felt less jarring the second time I saw it, so it still works pretty well, and adds to the somewhat “strange dream” quality that the musical emits. During Pharaoh’s number, the bodyguards provided a nice contrast to the crazy 50’s theme.
Costumes were well done, with the narrators' “oooo, sparkly” sequin shirts being the most eye grabbing.
The period costumes fit well, with the best being James Souder’s Elvis costume (one problem with Pharaoh: no Elvis lip! True, it is pretty hard to do right, but that would have completed the look for me). One thing to note is that (Egad!) Tucker’s midriff is visible through a large portion of the play (Again, Egad!). Considering our rather strict dress code, and other complaints leveled at the production, this surprised me a little bit. But it fits perfectly, so kudos to you, Tucker. Last, but not least, the Calypso number. I will tolerate the song (good job, James), but the sombreros made me gag. Enough said.
As much as I bashed it, the musical is a solid production, and deserves to be seen. We may not be doing one next year, so you should show your support for this type of theater at the school.
-Joe Phillips (pictures by Sarah Schaeffer)