Review: Joseph and the Amazing Technicolor Dreamcoat, Bristol Hippodrome – ‘A jarringly wholesome tale of triumph over adversity’

It is the proverbial tale of holding on to faith at the hour of adversity.

It is said that the darkest hour is right before the dawn and it was indeed the case for Joseph, where one minute he was rotting in jail and in the next giving sagacious advice to the most powerful man on earth, the Pharaoh.

How fortunes have changed? The fires of wrath and resentment that were sent to destroy him became the anvil that forged him a man of steely resolve. The current production of Joseph and the Amazing Technicolor Dreamcoat under the astute direction of Laurence Connor never fails to pull out all the stops and moreover augments it with a dash of fairy dust much to the delight of the adoring audience.

Written by a pair of young whipper-snappers back in 1967 as a short cantata to be performed at a school concert. The appeal of the seminal musical piece was such that it was bolstered and lengthened with added numbers and the final result certainly did not disappoint.

When it was presented 50 years ago at the prestigious Edinburgh Fringe Festival, it was showered with raving reviews. A British musical theatre phenomenon was born.

Joseph and The Amazing Technicolor Dreamcoat is the proverbial tale of holding on to faith at the hour of adversity

Undoubtedly the lyricist, Tim Rice, and the composer, Andrew Lloyd-Webber, formed the most fruitful musical theatre collaboration since Gilbert and Sullivan. The enduring legacy of the musical is no surprise as it encapsulates the heart-warming story of survival and triumph against all odds which resonates with all ages and generations.

What is not to like? The belt-out numbers, sensational dance routines and clean comedy elements that would make no one blush form a kaleidoscope of delights to keep a houseful of audience mesmerised.

This 2019 revival saw the Cardiff-born singer Yac Yarrow as the man who dons the technicolour dream coat. What a revelation he has been? The Olivier nominee was every inch Joseph with his chiselled physique, impish smile, energetic dance moves and more importantly, sensational singing with a strong timbre that kept the performance high octane throughout the evening.

The second half of the musical brings the energy to another level and the story begins to unravel at a breakneck speed with the arrival of the Pharaoh with his entourage.

Jason Donovan, who played the titular role in the 1991 West End production, returned as the crooner-type Pharaoh. The bona fide showbiz royalty was greeted with riotous applause on the minute he appeared on stage.

Donovan channelled his inner-Elvis, blending showmanship, great vocals and laugh-out-loud comedy elements. At times it seems though he was slightly breathy hitting the sustained top notes but that was only a minor distraction considering the regal veneer Donovan brought to the whimsical despot. The fan-favourite Australian artist was given a welcome fitted for an emperor.

Jason Donovan, who played the titular role in the 1991 West End production, returned as the crooner-type Pharaoh

Undoubtedly the star of the night was Linzi Hateley, who returns to her role as the narrator. She plays multiple characters along with the role of narrator including that of Jacob and Pothipar’s wife. Hateley’s silver stream of vocals filled the cavernous Hippodrome theatre casting a spell on the audience present. Her infectious dance routines never dipped their energy throughout the performance. Her stage presence was the binding mortar for the show that led an all-star cast.

The brothers (bros as they are called) played by a blend of industry-established theatre graduates and a group of school children. They brought unmistakable fun element to the set. Their showboating, shepherding and riding camels brought a smile to the adoring crowd.

The concoction of French chansons, oriental melodies and tap dancing created a rich pastiche with predictable puns such as “I said Canaan, not Can-Can”.

The choreography by Joann M. Hunter was replete with energy. The routines were fluid, seamless and sensational. The set design by Morgan Large enabled frictionless set changes from the arid landscape of Cannan to the sumptuous halls of the Pharaoh. He could transport the set from Egypt to Las Vegas at a drop of a hat. The backing orchestra under the baton of John Rigby kept the proceedings for the evening under total control and brought a glistening sheen to the production.

The choreography by Joann M. Hunter was replete with energy

The evergreen numbers such as Any Dream Will Do, Those Cannan Days and Joseph All The Time went down a treat with the crowd and the urge to join the cast for a singalong was irresistible.

As the curtain fell after a spirited rendition of Any Dream Will Do, the enthralled audience gave a prolonged standing ovation which then quickly turned into a clap-along encore featuring the entire cast. The proceedings for the evening was brought to a satisfying end with an explosion of technicolour bunting that showered the thoroughly entertained audience.

Joseph and the Amazing Technicolor Dreamcoat is on at Bristol Hippodrome until September 10. For more information and tickets, visit www.atgtickets.com/shows/joseph-and-the-amazing-technicolor-dreamcoat/bristol-hippodrome

All photos: Tristram Kenton

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