Back once again like a renegade master, this timeless classic
has been revamped for the modern age, a High Def version if you like and, as
one would expect from a show which centres on such a range of colours, it
really benefits from the use of 'new age' technology and choreography.
The story of the Lloyd Webber /Rice musical collaboration is
probably as well known as the biblical story of Joseph itself; for many it
is their first foray into musical theatre either as a child on a school trip or
playing a part in a school production. As such, as you settle into your
seat and the first few bars of the opening overture build, there is a
comforting warmth of knowing contentment, but with this comes the danger
that familiarity breeds contempt. Well, fear not, for this production is
as fresh and dazzling as a first year show trying to get an extension.
Jaymi Hensley (who found his fame as a member of pop group
Union J) has a hard act to follow, the alumni of previous Josephs reads like a
who’s who of musical theatre but, after 30 years of watching, it is my opinion
that his is the best performance I have ever seen. Naive at the start, powerful and confident by
the end, he takes the audience through Joseph’s journey from young boy to kings
confidante with complete believability. His
renditions of the two standards, Any Dream and Close Every Door are given real
depth, emotion and gravitas, breathing new meaning into the words and, even
after 30 years, surprising with the feelings they stir - the bar is now set super high for any future
wannabees Joes.
Trina Hill as the narrator is inspired; Hill takes centre
stage regardless of where she stands, has all eyes on her without demanding any
attention and has the perfect voice to tell the story. This is one of the
hardest roles to perform in musical theatre, it needs verbal gymnastics linked
to an impeccable memory to keep track of all the brothers and colours,
there needs to be sympathy, empathy, passion and no small amount of
humour, it all has to be kept within the frame of being a storyteller and Hill
manages it with aplomb.
The rest of the supporting cast have boundless energy, which
is just as well as Gary Lloyd has the choreography turned up to 11.
Flappers, cowgirls, vamps, Frenchmen and of course, camels, all test the
repertoire and all are fabulously performed with no shortage of humour –
there is plenty of references to other musical theatre, pop culture and even a
cameo by Jersey Boys. Nick Richings’
lighting design is particularly worthy of mention, never have the colours
been so pure, so vibrant and clear - High Def theatre for the High Def era.
So, for lifelong fans and new additions to the Joseph family,
get your tickets, warm up your camel and head on down to the Hippodrome
but be prepared not to leave early, the cast clearly love what they do and
respond to the audience demands for encores; with standing ovations
guaranteed at every performance you're going to get at least 3
additional numbers at the end.
