Theater Review

Tom Titus

After an absence of several years, if not decades, “Joseph and the

Amazing Technicolor Dreamcoat” is back in fashion. Last year the Orange

County Performing Arts Center hosted a touring production and just a few

months ago the biblical rock musical was featured at the Costa Mesa Civic

Playhouse.

Now the Huntington Beach Playhouse is taking a shot at the Andrew

Lloyd Webber-Tim Rice musicalization of the story of Joseph and his coat

of many colors. It also boasts the same Joseph as the Costa Mesa version,

Brandon Ibanez, which is a big point in its favor.

While the overall production may lack the flash and sizzle of its

immediate predecessor, director Phyllis Gitlin’s incarnation steps lively

around the larger Huntington Beach stage. Choreographer Kerri Vickers

keeps the ensemble numbers swift and sassy, while musical director Bill

Wolfe establishes a driving tempo for this early-Weber/Rice vehicle.

One of the most appealing elements of the Huntington Beach production

is its effective use of musical genres -- of which there are several in

this show, from country-western, to 50s’s rock, to Jacques Brel-style

lament (complete with berets) to calypso. And beyond the principals, the

cast is thoroughly involved in each.

Ibanez, who excelled the first time around, is a superior Joseph, the

favorite son sold into slavery by his 11 jealous brothers. His strong

singing voice is best served on his solo “Close Every Door” and the

central theme “Any Dream Will Do,” while his interaction skills are even

more polished in this incarnation.

A key role in any production of “Joseph” is the female narrator, but

Gitlin has chosen to use two singers in alternating assignments, diluting

the effect somewhat. Elizabeth Bouton and Ana Maria Gedney are perky and

effective, but neither is a clear standout, as was Adriana Sanchez at

Costa Mesa, and both suffer occasional lapses of clarity in their

vocalizing.

Michael Parillo’s Pharaoh, all shook up in an Elvis wig, rocks out

with alacrity and commands the stage with his presence. Kurt Jurrard is a

strong Potiphar, Joseph’s first master, who seethes as he catches his

favorite slave in a compromising position with his wife -- a sleek, sexy

Melisa Cole who emanates carnal desire.

Vickers’ dance corps, spearheaded by the sophisticated moves of Lori

Lewis (chiefly in the Apache dance number), is a smoothly drilled

ensemble. Of the brothers, Nathan Singh and Dean Hart stand out with

their particularly spirited performances.