Joseph and the Amazing Technicolor Dreamcoat

Chatswood Musical Society’s ‘Joseph’ is one of those community theatre shows that starts off strongly, then just keeps on fulfilling, and even exceeding, its initial bright promise.

From the moment Narrator Kathy Xenos enters with a small group of kids (rather than the usual army of children) with whom she has an obvious warm rapport, and there’s an intimate sense of storytelling to this ‘Joseph’, which she engagingly extends to include the audience. It feels so right for this gentle, naïve musical. Throughout, Kathy is a genuine storyteller, projects the biblical tale clarity, and a good vocals.

Curtains open on Neil Shotter’s striking single set – four towering monumental columns with hieroglyphic carvings, framing a central entry flanked by cut-out palms, against a well-lit cyc, and incorporating an effective second level. I’ve never seen the tiny Zenith stage dressed better or more practically.

Enter Nathan Stark as Joseph – a genuine rising talent to watch – great looks, voice, charisma and stagecraft. He’s perfectly matched to the pivotal title role. He’s a potential star on far bigger stages.

Joseph’s brothers work joyously as a group, while those who step out for individual moments in the spotlight all nail the moment - Tom Stevenson (splendidly supported by Lauren Paul), William Sunderland, Edwin Estanislao all excelled in the style of their genre pastiche songs, while those called on to play cameos, the Butler (Steve Vass) and the Baker (Michael Paton) made their parts work well.

Briana Scutts’ burlesque background ensured a seductive Mrs Potiphar (she’s reigning Miss Burlesque Australia), well supported by the female ensemble.

The Elvis impersonating Pharoah always gets the short second act off to a flyer, and Brian M Logan is no exception, in a witty, well-timed cameo, surrounded by Laura-Beth Wood’s clever ensemble choreography at its best.

I was amused that a couple of program biogs outlined performers’ shortcomings or inexperience, modestly short-circuiting any critique.

A small, naive musical at heart, the intimacy of the venue was ideal and the design, a perfect solution; a well-balanced cast; some great groupings; snappy choreography; a good ensemble; strong vocals; cute kids; a good sound mix and snappy pace.

And did I really neglect to mention Hayden Barltrop’s orchestra? They were impressive throughout.

Any reservations? A few, though they’re overwhelmingly minor, and mostly easily ironed-out opening night hitches.

There were some pretty noticeable lighting cues missed (though the lighting design by James Wallis was very effective), the mega-mix at show’s end (and some other moments of dance) sometimes seemed a little crowded, and would have benefitted from some rotation of performers, while like all shows with kids, some are confident, while others occasionally check out a neighbour for the next move (though that has its inbuilt charm factor too).

Matt Cater has developed rapidly as a director, staging a production that far more experienced hands would be very proud of.

With closing weekend performances all but sold out, get in quickly and book for a mid-week show.

Neil Litchfield.

Photographer: Chris Lundie

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