Joseph and the Amazing Technicolor Dreamcoat (Canberra Philharmonic Society) - Review

"... but if you think it, want it, dream it, then it's real,
You are what you feel."

Pictured: Some of the Joseph cast and their choreographer laughing at some schmuck.

Recently, I went ahead and donned my coat of blackened leather (and quickly discarded it in the car when I realised it was way too hot to be wearing that kind of jacket in this weather) and began a pilgrimage of about ten minutes length to the Erindale Theatre to catch Philo's latest production: Joseph and the Amazing Technicolor Dreamcoat. It's a show that needs no introduction. Andrew Lloyd Webber's stunning collection of exotic tunes transport us, the audience, throughout the Biblical story of Joseph. It's one of those shows that everyone cannot shut up about; conversely, it's one I went into knowing quite little about. I'd listened to only its score before seeing it, and it immediately dawned upon me that Joseph is a show that requires a cast and crew of fun, talented creators to be pulled off at a level that satisfied its reputation.

To my (and my fellow audience members') utter delight, Philo's production of Joseph meets that challenge, and then some.

Director Kelda McManus presents us a whimsical, dazzling experience of biblical proportions. One of the features I enjoy the least about completely sung-through musicals is the often-lacking attention paid to characterisation; this is a stone McManus has not left unturned. Her direction ensures that not a single cast member does not sell their role with high octane energy and, more importantly, individuality to the audience; every single occupant of the stage feels alive and at the top of their game, while also never becoming overbearing enough to distract from the various central focuses of the show as they arise. Her choice to promote the children's choir element of typical Joseph shows into junior cast members that are more involved in the action utterly elevates the show, really emphasising the educational aspect that I never really appreciated before. Like whoever wove that titular Technicolor coat, McManus is a master tailor in her ability to bring together the hard work of so many creatives under a spectacular rainbow of a vision, garishly flourished before the audience with joyous whimsy.

Choreographer Caitlin Schilg has harnessed the immensely talented movers amongst her cast, presenting us with some of the finest choreography I've ever witnessed. From the hillbilly knee-slapping and yee-hawin' of "One More Angel in Heaven", to the impressively well-executed human river of "Benjamin Calypso", and the explosively multifaceted punctuation of "Joseph Megamix", Schilg may have come close to ensuring every flavour of dance imaginable was witnessable upon the stage. It's clear that care was taken to ensure that even the more inexperienced movers could contribute to each number's routines with the plethora of diverse sets devised for every single one. It is simply fantastic to witness. 

Musical Director Jen Hinton similarly harnesses a set of pipes she's plucked straight from the heavens; the chorus sing with energy and vibrancy in many of the show's fun numbers, which even got me humming in my seat at a majority of their harmonies. Equally as impressive is her work with the aforementioned talented youngsters, who contribute a sizeable amount to many numbers, namely "Close Every Door". The fine tuning of these singers, in tandem with Craig Johnson's exemplary conduction of his fantastically flavourful orchestra, ushers upon the audience a musical experience to die for.

And then, there's the cast. Simply put, the cast of Joseph are utterly perfect. Every single member brings their A-Game, but I want to take an extensive detour to appreciate some standouts. 

Tim Dal Cortivo's Joseph is beautifully performed. His singing is top notch, especially in the range of emotions showcased in song, from the high pride of "Joseph's Coat", the defeated and downtrodden loneliness of 'Close Every Door", to the feigned pompousness of "Who's the Thief?", and the noble forgiveness of "Joseph All the Time", Dal Cortivo's got it all. And right beside him, Taylor Paliaga is a textbook portrayal of the show's Narrator. Her stunning voice paired with an elevated interest in character interaction with the story she's telling render her a consistently warm on-stage presence that kept the story delightful in its presentation.

Joe Dinn absolutely rocks the house as Pharaoh; his vocals are pitch perfect, and his incorporation of a range of voices up and down the register give us a performance that ranks far beyond the already high expectations this role comes with. His rendition of "Song of the King" was the highlight of the night, performed with both gravitas and immense skill, accompanied by Dinn’s impressively improvisational and humorous wit that he exercised with hilarity on the front row audience members before him. David Cannell once again showcases his masterful character abilities in the dual role of Jacob and Potiphar, providing a surprising tenderness (both comical and earnest) to the former, and hilariously droll regalness to the latter.

The brothers each stand out as well defined. Amongst them, Bradley McDowell absolutely crushes "One More Angel in Heaven" with a strikingly sultry yet enthusiastically insincere cowboy tone, complete with cheeky cowboy hat and finger guns. Matthew Paliaga leads the collective with panache in a hysterically sombre, Francois rendition of "Those Canaan Days". Vikram Chunilal also ambushes the crowd with his lively performance of the tropical "Benjamin Calypso", every move he made as he jammed his way throughout the chorus catching cackles from the audience left right and centre. They are well supported by their fellow brothers, who bring committed characterisation to their roles, and each get their moments to stand out.

The sizeable contingent surrounding these central characters and their brothers are just as dedicated; with the talented youngsters bolstering their ranks, it was an ensemble that was simply unforgettable in their dedication. If I had the space to name every single person that impressed me in this show, I'd be handing you a cast list.

The set by Ian Croker was divine in presentation and deceptively malleable, as to be expected from him at this point. Costume Designer Jennie Norberry absolutely showers this cast in unique dress and style that fit any of the given contexts, striking the balance and never going way too overboard. And the puppetry of a certain quadrupedal desert trawler was a magical moment of theatre if I'd ever seen one.

I was late to getting to watch this, but there still remains four more chances to see this show for yourself before it closes this Saturday. And trust me, it's not one to miss if you haven't caught it just yet. This utter powerhouse of a production team has formed a formidably talented cast and crew to bring to life an enthusiastically shared vision of Technicoloured extravagance, and it is a sight to behold. It is dazzling, frazzling, and utterly joy-inducing, and if I had only allowed myself one word to describe the experience... it absolutely would be worthy of its titular descriptor: Philo's Joseph is amazing.

Tickets: https://philo.sales.ticketsearch.com/sales/salesevent/142343