Tuacahn – “Joseph and the Amazing Technicolor Dreamcoat”
Grade: B
Andrew Lloyd Webber and Tim Rice’s collaboration “Joseph and the Amazing Technicolor Dreamcoat” might be the most popular stage musical of all time. Since its 1973 debut in the West End, it has been performed in countless theaters, including professional, community, and educational venues. Disney’s “The Lion King” might be the all-time king of the box office, but it is quite possible that this sing-songy comedic tale based on the Old Testament book of Genesis has been performed far more times.
In fact, Tuacahn’s current production is their fourth version in the theater’s 19-year history, and the only show to have been revived so many times. So why does Tuacahn continue to produce the show? Simple: It is a crowd-pleaser, and it breaks box office records every time.
This show seems impervious to criticism. In fact, it might be the most critic-proof show in Broadway history, and while the show lends itself to various stylistic interpretations, crowds seem to follow regardless.
Tuacahn’s current version will no doubt be successful. It’s a fun, colorful, and catchy-as-ever production with a few new digital effects. But many of the bits are recycled from previous years, and the choreography (by veteran choreographer/director Derryl Yeager) is more serviceable than uniquely impressive, though one pas-de-deux during “Those Canaan Days” is a hoot. Fans who listen carefully may also be disappointed by what appears to be pre-recorded music and vocals, particularly during the children’s chorus.
Interestingly, the show features a standout performance in an often-underrated role: The narrator. Lisa Hopkins Seegmiller is exceptional, bringing to the role a tremendous, Broadway-legit soprano voice and an articulation and expression that add tremendously to the production. Her energy is a focal point here, and she ties together all of the vignettes and keeps the production grounded in its storytelling purpose.
With his stone-cut physique and terrific voice, Tuacahn veteran James Royce Edwards (Prince Eric in Disney’s “The Little Mermaid” and the lead in “Tarzan”) is a handsome, sympathetic Joseph. But with this performance, his energy didn’t kick in until the second act.
One great advantage of this show is its brevity, and the show skips along nicely, with an efficient, streamlined set design. Your reaction to the digital production techniques, where images are projected onto a large pyramid onstage, may be primarily influenced by your age. Younger audiences may feel such technology is “cool,” whereas veteran theatergoers may feel it is gimmicky. (But nothing in this show is as elaborately and universally impressive as Tuacahn’s “The Little Mermaid,” which is as close to a true Disney park experience you can get off-site.)
Fans of this show will not be disappointed. If your memory begins to fade, no worries; the young brother with the coat of many colors will no doubt return soon to a theater near you.
