Carter Jargo and ensemble members in Joseph & the Amazing Technicolor Dreamcoat
I now know how the Grinch felt when his heart grew three sizes, because I surprisingly, actually, thoroughly enjoyed the Clinton Area Showboat Theatre's and director/choreographer Jenna Schoppe’s production of Joseph & the Amazing Technicolor Dreamcoat. Which will be a shock to anyone who knows me, because they also know how much I hate(d) Joseph. But Clinton’s latest has made me a believer.
With its book by Tim Rice and music by the frankly insufferable Andrew Lloyd Weber (some hatreds I will never concede …), Joseph tells the story of Joseph (Dylan Renart), brother to 11 and favorite child of their father Jacob (Lee Blair). Jacob has no issue with reminding his other sons, time and time again, that yes, Joseph is his favorite. And to make matters worse, Jacob decides to give Joseph an extravagant gift in a technicolor coat. Deciding enough is enough, the brothers have a normal emotional response, and sell Joseph into slavery. From there, Joseph’s charisma carries him from imprisonment to the right hand of the pharaoh (Carter Jargo), and eventually back into the arms of his remorseful family.
The action is largely guided by a narrator (Grace Avery) and the brothers, who also serve as the adult ensemble. They move set pieces, change costumes, and in Schoppe's version, appear to have a freaking blast doing it all. In fact, the ensemble is the reason I enjoyed this production as much as I did, and I want to commend every single one of them for being so present and animated throughout. It really feels like there was a deliberate effort on the part of Schoppe and the cast to make each brother feel unique, and I was continually blown away by how, any time I looked anywhere, I saw something new. Because what I loved about this production, and largely contributed to what made this Joseph succeed where so many others have failed, was Schoppe’s brilliant casting choice of gender-swapping some of the brothers.
Yes, rather than trying to pack 11 brothers and 11 wives onto the Showboat’s intimate stage, Schoppe had a wonderfully diverse cast of siblings – still referred to as brothers and male pronouns throughout – who were able to vocally fill both the male and female singing roles … and with an ensemble of 10, no less. (This talented group was composed of Arick Brooks, Vanessa Dominguez, Max Layman, Quinten Loveland, Amanda McGovern, Jackson McKinney, Jonah Mendoza, Ella Patras, Mia Rivera, and Jesse Wilkerson, with Ryan Scoble on hand as Potiphar and Kait Auburn as Mrs. Potiphar.) It’s a breath of fresh air that makes what can be a really tedious show feel fresh. My favorite moment came during the steel-drum laden “Benjamin Calypso,” in which a prop became a limbo stick and all the brothers proceeded to interact with it in ways that highlighted each unique performer. One actor who’s on the shorter side simply walked under it. Another lowered the stick to the floor so they could step over it. And the tallest brother raised it as high as he could.
Beyond the smart casting and sharp ensemble, I also appreciate how this production found ways to make Joseph feel less mind-numbingly repetitive. At one point, Joseph even asks the Pharoah to “sing that song one more time,” and then what feels like the entire song is sung again. Thankfully, however, Schoppe and music director Sabin Fisher keep doling out new tricks to make the repetition an ongoing shtick. Even the closing “Megamix” (which I will blame for polluting the finales of every single jukebox musical from the last few decades) doesn’t wear too thin, which is a commendable achievement on its own.
Among the applause-worthy design elements, the lights, by James Kyle Davis, are appropriately vibrant and wonderfully technicolor. The set, designed and built by Zach Hodgson, boasts a lot of Egyptian dressing and plenty of well-hidden LED strips that add to Davis’s fun lighting plot. And the looks of the cast, their wardrobe designed by Shelby Dupree, strike an enjoyable blend of modern and classic musical theatre. (I especially loved the eye shadow and glitter adorning each actor’s face.) I must admit, though, that I did have one gripe with the costumes – or rather, the lack of one. At a few points, Joseph goes shirtless, and while I’m not typically the type to complain about an actor’s tattoos, Renart does have some rather prominent art pieces that kept distracting me the longer the scenes went on. In particular, the comedy/tragedy masks only served to remind me, “Oh, yeah – that’s an actor and this is a show.” But even as I write this, I realize it sounds persnickety. It’s freaking Joseph. The stakes aren't that high.
As for Joseph's inevitable children’s choir, these appropriately adorable youths were clearly having a blast. Even certain kids here are given opportunities to highlight their special talents and abilities, and it’s such a treat to see a production give a platform for the next generation of performers. But between you and I? My favorite of the children was the one who was somehow a full four-count behind or ahead of every single dance move … and who never stopped grinning from ear to ear.
If you’re like me and generally can’t stand Andrew Lloyd Webber or Joseph & the Amazing Technicolor Dreamcoat, I’m almost certain you’ll still find plenty to like in the Clinton Showboat's latest. And if you’re like my dear friend who went with me, who already loves Joseph, you’ll find a lot to love.
Joseph & the Amazing Technicolor Dreamcoat runs at the Clinton Area Showboat Theatre (311 Riverview Drive, Clinton IA) through July 6, and more information and tickets are available by calling (563)242-6760 and visiting ClintonShowboat.org.
