Luton News Review - Wednesday April 2nd 2008 by Nova Horley
I'm fast running of superlatives to describe productions from CSLYMT, as they are without doubt the only society in the area currently turning out consistently excellent shows.
So let's start at the beginning - the static set, which I understand owed much to Richard Foster, looked good and was nicely dressed by the chorus and children's choir. The steps that slid out from the sides gave an added dimension and the various levels were used to their full extent by the cast. The lighting, designed by Fred Rayment, was well conceived with stunning effects and we could always see the faces of the cast, which was a plus. Sound was mostly good, although I felt the prologue did not have a good balance and the words were sometimes lost, but this improved over the show. As a whole the production was slick, well-directed by Stuart Farrar and Sarah Albert's choreography gave the cast something to get their teeth into and it really worked. Martin Hart and Sarah Farrar worked wonders with the vocal element. It's difficult to remember that these are our younger performers when they give vent to such a wonderful sound. Mr Hart is a sympathetic MD who listens to and helps his singers and controls the band so they are all in harmony. Julia McLeish, who trained the children's choir from Bushmead Primary School, has also done a fantastic job. I was hard put to detect a bum note from anyone and it was lovely to see the youngsters participating and giving of their best.
Now, to the principals. Dale Stacey gave us a bang-on-the-nose Joseph, really getting inside the character and what an improvement in his vocal ability. He sang the songs beautifully and his voice is now so secure, it was a joy to watch him. Aimee Thompson had perhaps the most difficult role as Narrator, but she carried it off with aplomb. A lovely voice, good to watch, with expression and feeling coming through in her songs. If I have one small criticism it is that occasionally some of the Wives were a little expressionless. I know they had a lot to do, doubling as handmaidens etc, but I got the feeling that they were concentrating too hard on the moves and not enough on presenting them - but this will come with more experience. The Sons without exception were excellent and gave some great characterisations, very expressive and also some super voices there too. Sam Morton gave us a Jacob who had a twinkle in his eye, despite the sorrow of his lost son - irrepressible is the adjective that springs to mind when talking about Sam. Sean Furey added humour as the Elvis look-alike Pharaoh, something he does well.
The costumes only added to the overall look of the production, which was excellent from every angle, so what can I say, except that CSLYMT set the bar higher for every show they do and every single person involved with this show should be justifiably proud of a marvellous theatrical experience.
ORIGINS & HISTORY- JOSEPH AND THE AMAZING TECHNICOLOUR DREAMCOAT
This was the second musical theatre show written by the team of Andrew Lloyd webber and Tim Rice. Based on the 'Coat of many colours’ story of Joseph from the Bible, this light-hearted show was first presented as a fifteen-minute pop cantata at the Colet Court school in London on 1st March 1968. The production did not have a huge impact when it premiered at the Colet School, but Lloyd Webber's father, William, felt it had the seeds of greatness. He encouraged and arranged for a second performance to take place at his church, Westminster Central Hall, with a revised and expanded format, including a rock group. The boys of Colet School and St. Paul's Junior School sang at the second performance, conducted by Doggett on 12 May 1968. This performance received 'amazing' reviews as a new pop oratorio in London's prestigious Sunday Times. The third performance took place at St. Pauls Cathedral on 9 November 1968. By then it had been expanded to 35 minutes and included several new songs. In 1970, Lloyd Webber and Rice used the popularity of their second rock opera Jesus Christ Superstar, to promote Joseph, which was falsely advertised in America as a sequel to Superstar. In September 1972 Joseph was presented at the Edinburgh Festival, directed by Frank Dunlop and starring Gary Bond. A month later the production played at the Young Vic and the Roundhouse theatres. Success continued to transfer Joseph to bigger theatres and wider audiences. It was finally produced on Broadway on 27th January 1982 at the Royale Theatre where it remained for 749 performances. It has been revived several times professionally in th UK and has completed tours as well as runs in the West End starring such people as Philip Schofield, Jason Donovan, Stephen Gately and Donny Osmond.