A [Very] Biased Review of Joseph and the Amazing Technicolor Dreamcoat

Was I going insane? Were those children or M&M’s? Was that Elvis I heard? Honestly, sometimes I wish I could also sell and ship my brother to Egypt. (The funny thing is that if you ever read the Bible, pointedly, Genesis, you would think that the musical is the less stoned version of the tale).

Historically, the most significant criticism of Joseph and the Amazing Technicolor Dreamcoat is that the musical itself is written in such a way that without Joseph, there is nothing left but underdeveloped Skittles on steroids. This usually results in the interpretation of such musicals being a one-sided, boring piece of hallucinatory biblical nonsense. None of the performances for JATD I have witnessed, both semi-pro and scholar, have solved such an issue… until now.

Don’t get me wrong, if I could sell my appendix and tonsils to sing like Max Peters can, I would. I REALLY WOULD. His interpretation of Close Every Door to Me (which I am glad did not look like Donny Osmond’s 1999 shirtless, Tarzan-hybrid interpretation— look it up) made me both cry and rethink life, precisely that old lie about how God doesn’t have favorites. Emphasis on lie.

However, unlike every other boring interpretation of JTD, the WC Theater Department solved the puzzle. They managed to distribute the spotlight in such a manner that allowed the audience to realize that every single cast member, not only al-mighty Joseph (please let me sell you my tonsils), is liked by God, in opposition to the rest of us.

I loved it.

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