Just in case you’re wondering (and you probably weren’t), the total tally of colors is 29. Yes, that’s the final sum of shades identified in the title garment of Andrew Lloyd Webber’s campy musical retelling of the biblical account of “Joseph and the Amazing Technicolor Dreamcoat.” But perhaps even more interesting than its famed palette recitation or even David Hilder’s deliberately colorblind casting is that same figure also represents the approximate number of times you may find yourself questioning Hilder’s directorial choices in such a muted production at Olney Theatre Center.
| Onstage |
| ‘Joseph and the Amazing Technicolor Dreamcoat’ |
| Where: Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney |
| When: Through March 20, 8 p.m. Wednesday through Saturday; 7:30 p.m. Sunday; 2 p.m. Saturday and Sunday, |
| Info: $26 to $54 at 301-924-3400 or olneytheatre.org |
With a history of so many colorful incarnations of the glittery pop-rock musical, it’s a wonder that Hilder employs the less-is-more approach. While the story of Joseph and his envious Old Testament brothers isn’t exactly the stuff of children’s theater, someone forgot to tell Hilder that, as he gleefully riffs through Lloyd Webber’s score with all the finesse of a giddy teenager. Sure, the material is ripe for sight gags and laced with fizzy pop culture pranks, with casual references to Elvis here and the sway of sun-drenched calypso beats there (Tim Rice’s supercheesy lyrics include this description of the first fitting: “When Joseph tried it on, he knew his sheepskin days were gone”), but seldom does Hilder allow the comedy to hit any highbrow notes.
While his tuneful cast revels in the obvious parody of “One More Angel in Heaven” and scrambles to tell the prickly tale of “Potiphar,” they also rely heavily on stock comedy in “Song of the King” and “Those Canaan Days.” It’s all very tongue-in-cheek, as any good production of “Joseph” should be, but there’s a big difference between subtle adult humor and overtly animated staging.
The transitions between scenes are clean and clinical over the 90-minute affair (there’s no intermission, so make sure the kiddies are prepared), and the malleable set design from Eugenia Furneaux-Arends ensures that we follow along sans clumsy interruption.
That kind of seamless storytelling is aided by Hilder’s energetic ensemble in what is truly an ensemble show in every sense of the word. The action is introduced by the evening’s ever-present narrator, and here Eleasha Gamble reprises the role after making her professional debut in the same work at Olney 12 years ago. Gamble is in fine form here, displaying her vocal acrobatics and acting chops, even if her costume, further generalizes the character with the juiciest octave-hopping oratorio. And while Alan Wiggins’ Joseph is proud, strong, and exceptionally athletic, he lacks the kind of heart-stopping charisma necessary to make Joseph a more sympathetic figure.
Still, the dynamic musical direction is all there, courtesy of Christopher Youstra and his five-piece band, which mostly produces a muffled sound upstage. And that unfortunate design work, which also results in a horrible blending of body mics, is “Joseph’s” gravest misstep. What good is golden music direction when the sound quality is so poor? In an evening that focuses on a timeless fable about the power of forgiveness, the only redeeming factor in Hilder’s revival is its irrepressible musical flair.
