Joseph and The Amazing Technicolor Dreamcoat Review, Nov 2023 - Retiring in Style

There’s just so much to love about BATS’ latest production, Joseph and The Amazing Technicolour Dreamcoat. It wasn’t just the dream coat that was amazing and technicoloured – this was a show full of colour, dance, laughter and eccentricity which had its audience totally engrossed and thoroughly entertained. If the main purpose of a show is to entertain, then the standing ovation at the end of Tuesday’s opening night, proved BATS had, once again, delivered.

The production was directed and choreographed by Louise Travis, with Luannsa Goodman as her co-choreographer and Jonathan Eiø as Musical Director. Louise and Luannsa were fortunate in having some superbly talented dancers to bring their choreography to life; in addition to the nifty footwork, I must make mention of what the judges on Strictly Come Dancing like to call “armography” which made the dancing even more watchable.

The costumes, as well as being of technicolour brilliance, were a fascinating mixture of styles, ancient and modern, making this Joseph production more edgy and up-to-date than some I have seen. Super-fast costume changes must have been required as various cast members were taking on several roles but nobody appeared to miss a step.

Every actor who plays Joseph puts a slightly different spin on the part and David Honeywell played him as a gentle soul seemingly unaware of the jealousy his thoughtless tales of his egocentric dreams were creating among his brothers. His relationship with Jacob, helping his father “live his youth again” in the early scenes was especially poignant, showing the audience just why Joseph was Jacob’s favourite son. During his rendition of “Close Every Door to Me” even the most excitable of the mainly young audience fell silent.

Ranged against “poor, poor Joseph” were the other eleven brothers. While the strength of the brothers mostly lies in their unity, they were all the stronger for their individuality. I only wish I could name them all personally because they were a brilliant Band of Brothers. James Young (Reuben - One More Angel in

Heaven, with a bevy of wives joining in the fun), Adrien Nortier (Simeon - Those Canaan Days) and Harrison Crangle (Judah - Benjamin Calypso) took the lead in three of the show’s most popular group songs. Best of all the brothers’ interpretation of Those Canaan Days, bewailing the fate that had befallen them since they had betrayed Joseph, supposedly to a life of servitude, was a standout performance. Their excellent characterisation and faultless harmonies won them the loudest applause of the night.

One of the three narrators, Kirsty Kingham, was unable to perform on the opening night, leaving Laura Newborough and Eronwy Selwyn to carry the story-line which must have been a considerable challenge. It is a tribute to them both that they carried it off so harmoniously.

The children were a delight and extremely well-rehearsed, taking obvious pride in their performance. Team Lloyd was on stage on Tuesday but I am sure Team Webber will have been equally charming.

As a reviewer, I had a great seat in the middle of the stalls (thank you, BATS!) but part of me wanted to be up in the Circle watching from on high as the story unfolded, so that I could get a better, more all round view of the action. Boy, was it busy! This was very much an “ensemble show” with most of the cast on stage for much of the time. From my seat in the stalls, this meant that some of the principal performances lacked the focus that their roles deserved. For example, the sequence with Potiphar, (well played by Benedict Kennedy) and Potiphar’s wilful wife (equally well played by April Fost-Evans) lost some of its impact because my eyes were irresistibly drawn to the startling choreography of the accompanying dancers (was it just me or was this reminiscent of “Cabaret”?) Even Pharaoh, played very successfully for laughs by Ian “Spud” Smith, started off his performance at the back of the stage where he, too, was partly obscured by the dancers in front of him. Up in the Circle, I would have seen them all more clearly and been able to enjoy their performances even better.

Incidentally, Wednesday evening was a “relaxed” performance, a first for BATS. As one of the governors at a special educational needs school, I really appreciate the society’s acknowledgment that absolutely everyone deserves the chance to experience live theatre. The cast and crew of Joseph played this for laughs, creating a real party atmosphere, a theatrical adventure to give pleasure to everyone. Their boundless energy and exuberance were totally infectious, so that everyone left the theatre with a smile on their face. Well done, BATS!

Jaqui Ball
Retiring in Style

Joseph and The Amazing Technicolor Dreamcoat Review, Nov 2023 - National Operatic and Dramatic Society (NODA)

SET: The set was two sets of bleachers that moved apart to make an entrance/exit at the rear of the stage. The backdrop being a technicolour brightly lit pyramid of colour. The use of the stage in this way made room for the large cast. The focus was therefore on lighting and costumes. 

COSTUMES: Costumes were fantastic, brightly coloured and varied in style from traditional biblical to modern and all were vibrant, well fitting and suited to their characters. There must have been some very quick changes due to doubling up of characters and scene changes. The narrators were in black and this was a good contrast to the colourful characters within the story.

Joseph’s coat was indeed amazing and the 29 colours were displayed in full glory in one of the cleverly choreographed dance routines.

THE PRODUCTION: Although this was a relaxed performance with slightly reduced sound volume and some adaptations to the script and lighting, it did not diminish the energy, exuberance and enthusiasm of the cast who worked hard and kept the pace up throughout the show. There was an almost party atmosphere during this sumptuous and fun filled production. All the performances oozed with personality and a certain amount of light-hearted mischief, its almost impossible to single out any individual. However, Ian ‘Spud’ Smith as Pharoah deserves a special mention, particularly as he clearly relished the role and his Elvis number was simply joyful.

The music provided by the live musicians under the direction of Jonathan Eio was never less than perfect and this complemented the tuneful singing of the cast. The intricate choreography from Director, Louise Travis and co-choreographer Luannsa Goodman was first class, varied in style and executed with precision. This biblical story was told with lightness and humour but there were also serious, important themes running through as well, such as sibling rivalry and the perils of greed and pride.

Well done BATS on making this theatrical experience inclusive and therefore open to an audience who may have been enjoying live performance for the first time. 

Chris Horton
District 14 Regional Representative
National Operatic and Dramatic Society (NODA)

Joseph and The Amazing Technicolor Dreamcoat Review, Nov 2023 - It's All An Act

I had the unique opportunity to attend a rehearsal of Joseph and The Amazing Technicolor Dreamcoat by the outstanding cast of Basingstoke Amateur Theatrical Society and directed by Louise Travis. Despite being a rehearsal, the performance was already incredible, showcasing raw talent that promises to be even more breath-taking with the addition of music, lights and scenery.

Highlights

The Potiphar Scene brought a fascinating clockwork orange vibe, adding a unique touch to the production.

The integration of narrators with the characters, particularly the brothers, was a brilliant choice, providing a fresh perspective on the storytelling.

The choreography was outstanding, effectively utilising the space and engaging the audience.

The well-rehearsed children added a delightful dimension to the production, contributing to a great overall sound.

Character Performances

Joseph: While well-sung, there seemed to be a bit of holding back, and I wished for more depth in the portrayal of light and dark throughout the performance as Joseph goes on a rollercoaster of a journey.

Jacob: Though lively, I felt he appeared a tad too sprightly for a father of 12 sons, particularly in the dance numbers. I understand the need for the involvement especially within the dance numbers but didn’t believe the age of the character.

Pharaoh: Surprisingly kind, lacking the expected arrogance, which offered an interesting take on the character. Working more as a crowd pleaser than a ruler.

The Potiphar’s: Potiphar’s ‘roar’ was appreciated, along with the aggressive nature that was to be expected with this character and Mrs. Potiphar effectively conveyed discomfort and tension in her scenes with Joseph and the audience.

Group Performances

The brothers showcased individual characters, each distinct, even while competing with their flowing locks. Those Canaan Days sung in acapella was just *Chef’s Kiss* and gave me goose bumps.

The wives’ inclusion was a lovely touch, providing great routines and support to the brothers even with all the quick changes demanding them.

The ensemble, including the angels, provided seamless support, singing as one. The angels sang cohesively, contributing to the ethereal atmosphere. The Ishmaelites added a delightful visual dynamic to the show. The Baker and the Butler, portrayed by Sally Manning and Laura Hughes respectively, took me by surprise with their vocal prowess. Their unexpected vocal abilities added an extra layer to the ensemble, showcasing their talent in a way that pleasantly caught me off guard. If you go to see this production, you’ll certainly understand what I mean when the Baker and the Butler open their mouths.

Observations

Due to unforeseen illness, only two narrators were singing, which was handled well and still made an amazing sound.

Lightning couldn’t be commented on directly due to the rehearsal venue, but set pictures and videos indicated a visually stunning production.

The costumes, which I got to see most of was great as this show can be very confusing with the different time settings and trying to figure out which route to go down, but feel they got it just right.

In conclusion, this rehearsal of Joseph and The Amazing Technicolor Dreamcoat provided a captivating glimpse into what promises to be an exceptional performance. The dedication of the cast and the creative choices made already set the stage for a truly memorable show. For those fortunate enough to attend, this production is sure to offer a magical experience at the theatre.

Jaz Wilson
It’s All An Act

Rent Review, May 2023 - NODA

SET AND PROPERTIES: The set, a multi level steel structure, was practical and made good use of the space; part of the upper level housed the orchestra. Tables were moved around and used in various scenes. Props were well used – even the candles which can be notoriously badly behaved in live theatre!

THE PROGRAMME: The programme was in A4 format, glossy and gave clear and interesting information about the production, background and planning with photos and information about the cast. There was a Chairman’s message as well as information about their future production and how to get involved with the group.

COSTUMES: The costumes were many and impressive ranging from Angels’ outrageous drag outfits to the cow costume for Maureen’s avant-garde performance in ‘Hey Diddle Diddle’. The Bohemians were dressed relevant to the period and location.

LIGHTING AND SOUND: The lighting was effective throughout, well controlled and varied in accordance with the nature of the emotion in the scenes such as gloomy lighting when there was an air of desperation or lighter and more colourful when the mood and musical numbers were more upbeat. The sound from the orchestra was first class and the voices were clear and blended well with the level of the music. There was clever ‘miming’ when a guitarist in the orchestra played but gave the impression that the actor was the one strumming. The music throughout was of the highest calibre.

THE PRODUCTION: This was a very polished production from the opening scene to the end when the characters reflect on living life in the moment and cherishing the time they have left. The message of the show was evident from the energy and commitment of the performers. There were some stellar solos as well as ensemble performances: Angel’s high energy and phenomenal entrance was amazing and Maureen’s Tango being just two of the highlights. Everyone was totally engaged and absorbed into their characters and this was complemented by the excellent live music. BATS have performed many shows and this production shows BATS at their very best with core roles for a good number of actors and therefore opportunities for many to shine. The direction, music and technical and creative team worked hard to ensure the success of this vibrant, sometimes sombre and thought provoking show. 

Chris Horton
District 14 Regional Representative
National Operatic and Dramatic Society (NODA)

Rent Review, May 2023 - It's All An Act

This exuberant and impassioned show takes us on a journey through a year in the lives of struggling young artists and musicians in New York’s East Village during the mid-1990s.

Rent revolves around a diverse group of characters facing their individual challenges while united by their dreams, loves, and conflicts. Roger, who has overcome his drug addiction, struggles to finish writing that one great song. Mimi, a nightclub dancer, finds herself in an on/off relationship with Roger. Tom discovers his soulmate in the radiant drag queen, Angel. Maureen expresses her chronic infidelity through performance art, while her partner Joanne questions the worth of their relationship. Benny, once part of the group, has compromised his ideals for financial gain and moved away. Mark, an aspiring filmmaker, documents their lives on camera while feeling like an outsider himself. Throughout the story, the characters navigate their paths amidst the physical and emotional complexities of HIV/AIDS.

The performances in this production were commendable, with a few standouts worth mentioning. Jack Baldwin as Mark Cohen delivered a captivating portrayal, bringing depth and authenticity to the character. David Honeywell as Roger Davis showcased both vulnerability and strength, while James Young as Tom Collins infused his role with heartfelt emotion. Tom Boncey’s portrayal of Angel Dumott Schunard was filled with charm and warmth, and Jade Williams gave a dynamic performance as Maureen Johnson.

The acting was overall impressive, and the cast brought the characters to life with conviction. However, I found some of the choreography to be a bit out of sync with the show’s theme at times, and there were moments where the singing fell flat. Despite these minor hiccups, the quality of the production remained solid, and the performers’ dedication was evident.

The production values of Rent were praiseworthy. The set design was awe-inspiring, although it occasionally felt overwhelming and restricted the movement of the dancers. The costumes beautifully captured the essence of the era and complemented the show’s theme perfectly. The lighting design was well executed, with some notable effects that added an extra layer of visual impact. One minor distraction was the mimed guitar playing, which could have been better coordinated between the actor and the guitarist or addressed during rehearsals.

Overall, Rent by BATS was a well-crafted production with excellent casting choices. The dedication and effort put into this show were evident in every aspect. It successfully captured the essence of friendship, love, survival, and the importance of living for today. Despite a few minor flaws, this performance was a heartfelt tribute to the spirit of the original work. I commend the entire cast and crew for their commitment in bringing this powerful and uplifting story to life on stage.

Jaz Wilson
It's All An Act