{image1}As much as a thrill as it would have been to see Donny Osmond (the former object of my childhood lust), Patrick Cassidy took myself and the rest of the full house at the Marcus Center to a whole new level last night.
Not to say that this journey began the minute the orchestra started the bland, if not hokey overture, which at times, reminded me of karaoke tracks, despite some "funky" sax embellishments.
Amy Adams, of American Idol fame, emerged onstage and was surrounded by a group of enthusiastic children. Unfortunately, costume designer Susan Ruddie really went for the seductive Sunday school teacher look, which was especially creepy when she nearly fell out of her top when bending down to pat a child on the head. Even Joseph was sporting some major cleavage in his sparkling tunic that was cut down to his naval. When Jacob presented Joseph with the "Amazing Technicolor Dreamcoat," it looked more like someone threw up day-glo Lucky Charms all over it. It still had the price tag, fortunately, so Joseph could exchange it for something a bit more subdued - some earth tones, perhaps? All the characters were wearing sneakers, even the neon-clad pom pom girls - which I thought was an interesting choice.
The Tim Rice and Andrew Lloyd Weber production, however, managed to supply some genuinely funny moments, which helped offset the cheese factor. For example, in "Jacob and Sons/Joseph's Coat," the Narrator (Adams) explains, "He's sometimes called Israel, but his sons call him "DAD!" and the 11 sons pop their heads out of the tent behind Jacob. In fact, Jacob's sons were one of the highlights of the production due to the sheer fact that they had individual personalities and names, which sharply contrasted with the identical, nameless nagging wives that comprised the harem.
Another favorite number was "Those Canaan Days," which was performed under a sign that read, "Café Du Anaan" in a hilarious melodramatic French accent by Jacob and his sons. One of the brothers was even wearing a beret -- c'mon, there's 11, for God's sake, how am I supposed to remember all their names?! -- and really stole the scene with his timing and vocals. He held the last note an exceptionally long time, which ended up getting a laugh from the audience.
Furthermore, choreographer Arlene Phillips designed some incredibly fast-paced and complex dance numbers that left even the most stoic audience member agog. She incorporated ribbon dancing (whatever you call that Olympic event) and even a lasso in one of the best scenes of the show, "One More Angel in Heaven."
Scenic designer James Fouchard incorporated some humorous touches that made this particular scene genuinely enjoyable. As Jacob is relaxing in his rocking chair amongst his cowgirl harem, out pop these green-lit cacti in back of a Western style archway that reads, "BAR-J-RANCH." He immediately dropped the ball, on the other hand, in the next scene, where the two Ishmaelite traders who bought Joseph as a slave from his brothers are leading this stuffed camel around. Maybe I was just spoiled by Little Shop of Horrors, but it just seemed like they could have made a different choice. The puppet goat bobbing around on a stick served as a cheap laugh, and reminded me of a low-budget high school production. Yet in "Potiphar," the millionaire who "made his fortune in buying shares of pyramids," hits a golf ball towards a large pyramid backdrop that lights up like a pinball machine, which was a nice touch.
Cassidy really shines in "Close Every Door." First of all, he's wearing nothing but a paneled "man-skirt," (a special "thank you" to costume designer Susan Ruddie), and did I mention he is RIPPED?! The song is a bit slow-going at first, as Cassidy croons under a spotlight shining through a stained glass eye with a cross in the middle - probably the only religious symbolism in this Bible story you'll find. Nevertheless, he finishes up the number with a sweeping crescendo with the kid chorus.
Unfortunately, the children began the second act with a somewhat painful "Entr'acte," singing a cheesy cowpoke-type song. Their performance was reminiscent of a badly- rehearsed recital. Their hesitation and unsynchronized movements made the audience laugh nervously -- maybe some people thought it was cute, but I don't think this was on purpose.
When she wasn't hanging out of her top, Amy Adams served as a cheery Narrator, although high notes really don't seem to be her forte, which made lines like "Egypt with a capital E," especially painful. She also was the victim of the Marcus Center's faulty sound system, which also plagued a couple other performers throughout the second act.
The climax of the production, in my opinion, however, was the Elvis Pharaoh, played by Todd DuBail. He was absolutely majestic as he emerged from a Sphinx sculpture outfitted with sunglasses. DuBail sported flares around his calves, studded cuffs and a cape. His pompadour and sideburns went exquisitely well with what little was left of his Egyptian outfit. Far from your typical bloated Elvis. His "Poor, Poor Pharaoh/Song of the King" was filled with Elvis song themes, such as "All Shook Up," and "Don't be Cruel." His artfully executed pelvic thrusts and sneers sent his harem into screaming fits and fainting spells.
The knock-down, drag-out over-the-top finale, "Joseph Megamix" received a standing ovation from the audience. Afterwards, we made our way to the exits with visions of Elvis Pharaohs dancing in our heads (well, at least mine). So if Bible stories, eye candy and hootenannies pull your trigger, this production's for you.
"Joseph" plays through Sun., Sept. 11 at the Marcus Center's Uihlein Hall. Call (414) 273-7121 for tickets and information.
