4 STARS, Oct 11-14. This Andrew Lloyd Webber classic starring Joe McElderry is still a hit with audiences 50 years after it was first written, says Aliya Al-Hassan
Back in 1967 Andrew Lloyd Webber was asked to write a ‘pop cantata’ for his brother Julian’s school choir. Andrew approached his friend Tim Rice to see if he would write the lyrics for the project and Tim suggested the Old Testament story of Joseph.
The story follows Jacob’s favourite son Joseph, as he is betrayed and sold into slavery by his brothers. Joseph’s honesty and diligence means he progresses well and after a spell in jail, becomes an advisor to the Pharaoh after correctly interpreting his dreams. When a predicted famine comes, Joseph’s family suffers and after testing their morality to see if they have become better people, he is happily reunited with them.
The role of Joseph has been taken on by a wide range of performers, from Donny Osmond to Jason Donovan and Philip Schofield. Here 2009 X-Factor winner Joe McElderry dons the famous coat; he is thankfully spared the usual terrible wig and makes a triumphant Joseph with very good variety in his voice, showcasing some surprisingly powerful notes in solos such as ‘Close Every Door’. His previous talent show experience means that singing live holds no fear for him and musical theatre is obviously a genre that really suits him.
The part of Narrator is arguably the largest part in the production and certainly one of the most challenging in terms of vocal gymnastics and endurance. Trina Hill may have limited stage experience but embraces the role with buckets of enthusiasm. He diction is crystal clear and her vocal range is good, although occasionally her top notes grate slightly.
As usual, the Elvis Pharaoh is a hit with the audience. Ben James-Ellis hams it up sufficiently to satisfy and demonstrates nicely smooth vocals, but could put even more exaggeration into the role. The recent addition of his extra song is an odd production decision, as it adds little to the show.
The ensemble cast is tightly co-ordinated, particularly the group of Joseph’s brothers, who benefit most from Henry Metcalfe’s slick choreography. Their vocals have some nice harmonies, but a couple of the solo sections are not as strong as they could be.
The rotating choir is provided by Teddington-based Babette Langford’s Young Set. In this production, they remain on stage for the whole show and do a competent job without verging into the sickly-sweetness of some children’s choirs.
Sean Cavanagh’s set is impressive yet relatively simple, but feels slightly cramped on the Richmond Theatre stage. Nick Richings’ lighting is brilliant, showing as much variety in one show as possible: from starkly simple with blue columns in the dark when Joseph is jailed to a flashing rainbow of colours during the Reprises.
One of the reasons this musical has endured so long is that there is such a range of songs; from the French influenced ‘Those Canaan Days’ to the Country and Western ‘One More Angel in Heaven’. The production rushes along almost without a breath and is frothy and frivolous enough to still seem fresh and unpretentious.
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