The bros jealously - at one point briefly lit in lime green to accent their collective envy - contrive to run Joseph off and all the way to enslavement in Egypt. Most notable of all is Josh Grisetti, as Simeon, one of Joseph’s 11 no-goodnik brothers. Other notable performers, in equally improbable-seeming ways, who are more than just faces in this Old Testament crowd include:ĭancers Rorey Michelangelo and Bridget Whitman excel in a torchy, scissor-y Apache Dance, featuring more than slightly perilous hoists and maneuvers.ĭaniel Dawson’s glitter-encased, skinny-era Vegas/Elvis is the show’s Pharoah, drilling all hip swivels and even a credible, mumbled “thank you very much.”
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McIntyre and Rabke even contrive to have her snap an on-stage selfie with the full cast during the Prologue. Now, with her Broadway belt soprano and mop of red curls still well in place, Rabke is an impeccable tour guide through the tale, gossiping to the audience about plot developments and character foibles like a pal in the know during intermission. Thirty years ago, Webber surprise-cast the very young Kelli Rabke as the Narrator in a Broadway revival, beating out actresses with twice her experience. This isn’t as matter of fact as it might sound: with (or despite?) a cast of 30 or so supplemented by a children’s choir of another 20, the show is seamlessly well-staged.Īmong the multitudes, another “Joseph” veteran stands out. McIntyre knows the territory and deftly bridles the unbridled exuberance across 20-plus scenes the amusement is precise, not sloppy. As well as staging the show elsewhere, he played one of Joseph’s treacherous and then repentant brothers on Broadway and in the 1999 cast of an English filmed version with Donny Osmond in the lead. With “Joseph,” the theater has sought out creative talent with deep bloodlines with this musical.Įngagingly shaping this production is director/choreographer Gerry McIntyre. Here this theater scores a high success through its own form of genesis. It eventually morphed into a high-spirited, energizing two-act show that in the right hands - very right in La Mirada’s - can be silly and intoxicating all at once. Webber and Rice first wrote their non-religious reworking of Joseph and his “coat of many colors” as a 15-minute-long cantata for a school chorus.
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The story here comes from the Bible’s first chapter, Genesis.
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