Great Performances: Joseph and the Amazing Technicolor Dreamcoat

Great Performances: Joseph and the Amazing Technicolor Dreamcoat_720p(480P)

source: Great Performances: Joseph and the Amazing Technicolor Dreamcoat

Mark Thompson, costume designer extraordinaire, likes to highlight feminine erogenous zones in what is supposed to be a production for children. No doubt his social-quasi-political perspective decided it was time to play a little "trick" on the uptight religious types to whom the Joseph tale placates. That's too bad, really. For had the more "alluring" costumes just been given minor alterations that didn't accentuate the sexuality that no doubt lurks in the back of Mark Thompson's mind, then this particular production, in spite of its wide receptions, might've received even greater accolades than it's already garnished. But, boo-hoo, the unarguably effeminate Mark Thompson believes it appropriate to snicker via his version of the decadence that was Pharoh ruled Egypt, and in this way deliver his version of s social jab. How tiring. Children need to learn about the human body, but a degree of comport, appropriate time and place, are of the essence. Regrettably the artsy-left that pervades a good deal of theatre have their own condescending view when it comes to children's' fair. But, the production itself, the songs and choreography, are fine. However, the shooting style falls just a millimeter shy of brilliance. The vast portion of cinematography is respectable, though mildly truncated here and there. The editing is appropriate for the intended age group, though here again it doesn't quite mesh with the shooting style, but the transitions and shot composition are competent enough. Now, if you can smirk at the "artistic undercurrent" (and you should), and enjoy the song-and-dance that is this production, along with some very fine comedic emoting, then you'll be thoroughly entertained. Myself, I liked the bobby-soxers :-) Well, we can't blame it all on Mark Thompson, after all mister Steven Pimlott directed the thing, and as such approved of the more heightened costuming. Ah well. If your morals skew slightly conservative, then give the thing a preview before showing it to your kids.

Those hoping to see a direct translation of the stage show might be slightly dissapointed. It has lost some of it's wit and charm, but has replaced them with an exuberance reminisant of the old time film musicals, where everyone looked as if they were having the time of their lives. This is what shines through mostly about this video. The feeling that the people involved knew they wanted it to be special, and they have succeded. They have opened the show up slightly, with the opening set in a school and all the main cast as the teachers. They've added some rather snazzy special effects which on this occassion don't overwhelm the whole film, but help to draw the viewer into the world which they create. There are some wonderful cameos from a few familiar faces and the largely unknown cast of Brothers and Wives shine, with a few stand out performances from some of them. One of the girls reminds me of a young Joyce Grenfell. Then we have our Two principals Donny Osmond and Maria Friedman. There were a few raised eyebrows when it was announced that Donny would be playing the lead role, but all misgivings are swept away as he makes the part all his very own, with a mixture of playful charm and vitality. Maria Friedman is a screen star in the making, with a charisma that makes her seem a natural for the screen. She has been wowing audiences in the West End for sometime now, but I'm sure that soon Tinseltown will take her and make her the star she should be. There is very little wrong with this production and I'm sure that it will have been in many peoples Christmas stocking. So while it may not be a gem, you can safely say it is a rough diamond, which in many cases shines much brighter.

The film dazzled me! Stage-sets and costumes and lighting are so beautiful, colourful and inventive, they are a treat to look at. The music is lovely and the text is witty. There whole performance is full of fun. Any Dream Will Do and Close Every Door are the most powerful tunes in the musical, but other moments and songs are also excellent. The more I watch the film the more I enjoy everything in it – Jacob and Sons, Joseph's Coat, One More Angel In Heaven, Go, Go, Go Joseph, etc. The scene with the Pharaoh is astonishing, hilarious! However, I especially like Those Canaan Days, and Jeff Blumenkrantz (Simeon) does it stylishly. Dances are wonderful, remind of a carnival. The show is cheerful, joyous, inspiring. It really lifts me up. The cast is perfect – from Donny Osmond and Maria Friedman to the children. Donny is not only a good singer and a VERY handsome man, he's got an impressive dramatic talent. He's adequate in every scene – as young conceited dreamer, as stoic prisoner, as Brilliant Pharaoh's number two, but he is best of all in the end. He succeeded in keeping the situation tense while accusing Benjamin of robbery, and then the reunion of family is very touching. Maria Friedman is also outstanding – expressive, interesting, entertaining and strong-voiced. She attracts your attention through the entire show. Other actors, including Richard Attenborough (a fine example of a family man Jacob), Joan Collins (beautiful and wicked Mrs. Potiphar), Ian McNeice (cool and so fine Potiphar), Robert Torti (wonderful Pharaoh), all the brothers, Alex Jennings (the Butler) are excellent. I think, they enjoyed acting in the musical, so we enjoy watching them. Highly recommended.

What a gem this new version of Joseph is - a sparkling, lively version of the Lloyd-Webber classic. The songs are performed to perfection and the sets and choreography are brilliant. A strong cast of the famous and the not-so famous (the best of whom by far is Maria Friedman, who, as the Narrator, has a wonderful voice and great stage presence) make the production a delight to watch and sing along to! Children and adults alike will adore its great songs, funky choreography, and humour, making it one for all the family. Donny Osmond doesn't half make a good Joseph too (much to my surprise!).

This filmed version of the play is both enjoyable and annoying. The story is a tuneful, mostly cheerful telling of the highlights of Joseph's story from his coat of many colors to slavery to power, but those looking for a reverent Bible story will be disappointed in this mocking and sarcastic show. On the plus side, Donny Osmond is quite appealing as the innocent Joseph and he sings with ease and emotion; his scenes are the best. My problems stem from the structure of the show. The action takes place on a school stage with the students often chiming in as a choir and it just doesn't gather any dramatic steam. The composers were only 19 and 21 when this was first conceived and they apparently let their youthful enthusiasm go unchecked; their music is catchy and the rhyming lyrics are clever, but there's no continuity or sense of serious theatre. One never suspends disbelief because we are constantly reminded it's a school play. The songs range from sweet to kitschy in pop, calypso, disco, and cowboy-country style. The props are painted cardboard and the costumes range from period to techno to kid-unfriendly suggestive. The narrator (Maria Friedman) has the most screen time and she's an annoying know-it-all who continually grabs the spotlight away from the action. Several of the songs are quite nice and will stick with you, especially "Any Dream Will Do" and "Close Every Door," and Pharoah's Elvis impersonation is funny, if weird. The show was originally aimed at children, but I think they might lose interest or be confused. The play lacks the substance of the composers' later "Jesus Christ Superstar" but is nice for Donny fans.

I was reluctant at first to see this. I have a great deal of respect for the story of Joseph in the Bible. However I must admit that I was greatly surprised. The cast was perfect, and the music was great. The comedy that was created was incredible. The manner in which the characters were portrayed and the flow of the plot was a stroke of genius for these men. I was totally enamored with Joan Collins portrayal of Potiphar's wife. As usual she was sexy and beautiful. Then there was the Pharoh. His magnetism and presence was amazing. I think his scene was the best played out in the show. I could not take my eyes off of him. Even Donnie Osmond's presence seemed diminished in his presence. Overall I would say that this show was rated among the top 3 musicals that I could watch over and over. I would place this in the same category as The Sound of Music, and Seven Brides For Seven Brothers. All are my favorite musicals.

If I had the time or the patience, I'd go through a point by point critique of the numerous problems that made this movie such a monstrosity. i will give some credit to the makers of this film, Webber's music for this play was badly written to begin with, but a good enough cast and crew can still make they play work. This movie looked like Sesame Street on Ecstacy, and seemed to be aimed towards kids (which is ironic seeing as how young children can't rent it at video stores like blockbuster because it was never submitted to the MPAA for a rating). Most of all, there are three words on the front cover that should clue you in to how terrible this film is: "Starring Donny Osmond."

Ooh, I've got a brilliant idea: let's cast some of the worst performers ever to star in one of Andrew Lloyd Webber's most (literally) god-awful shows of all time! Apparently, for some sick reason, it worked. Ian McNeice is the only worthy member of this terrible cast. And the songs are horrible. No, Joseph. We won't do what you say. And any dream will not do. Especially in a horribly cheesy show that features a chorus of creepy little children who harmonize against Donny Osmond's dreadful singing. A massively saccharine show that features an Elvis-impersonating Pharaoh and Joan Collins (I'm sorry, why?!) This is undoubtedly Webber's worst score after "Cats" and before "Phantom of the Opera," and with this staging, this untalented direction, and woefully overdone... everything... "Dreamcoat" makes you want to be strangled with that Coat of Many Colors. Victims of stoning have more fun than this.