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Post by ceebee on Jul 30, 2021 21:55:46 GMT
I saw Joseph tonight and it was a tale of two halves. First half underenergised, AB flat at times, all going through the motions. Second half was electric, even JD was on reasonable form.
What is it though with certain people who feel the need to shout out the names of certain star cast members at quiet moments? "Go on Jason"... "I love you Jason"... That and the clappers who insist on clapping in the wrong places and on the offbeat, yet sit rigidly during the megamix... Nowt so queer as folk.
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Post by Oliver on Jul 30, 2021 23:27:46 GMT
Until they do a version of Joseph that isn't full of camp and silliness I'm not interested. I saw a clip of the actress playing the narrator on YouTube, she even outdoes Maria Friedman (from that dreadful video production) when it comes to pulling faces and making pointless gestures. It is this approach from casts, creative teams, and idiotic directors like Bill Kenwright that has destroyed this musical over the years: the notion that because Joseph is a fun and light-hearted piece of entertainment you have to signpost this to an audience at every turn and scream 'we're not taking this seriously!' from the rooftops. A good director would do the opposite, take a serious approach to the storytelling, allowing the musical's simple charm and humour to win audiences over, only adding comical touches where appropriate. Though the lyrics and music are fun, there is also a dramatic seriousness to the piece. It would take a director who has a genuine love and respect for the source material to do justice to this musical.
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Post by danb on Jul 31, 2021 7:08:11 GMT
^ This. The original Palladium version was a perfect blend of the storytelling, quality performances & voices, colour, spectacle but still had heart. Sure, some bits were camp but it was thought through and part of the whole. What I saw with SS but like being bludgeoned with a hammer…nudge nudge wink wink…do you get it…type humour. Whilst I’m not expecting it to be ‘that’ different, I am at least looking forward to seeing it performed with layers and a thrilling voice.
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2,263 posts
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Post by richey on Jul 31, 2021 9:31:48 GMT
I don't know how AB plays it but I thought Linzi found just the right level a few weeks ago. I had been a little apprehensive about booking after hearing how Sheridan had overdone it but I think Linzi managed to tone it down so that the humour was apparent but not OTT (one exception being when she sang the jailer's lines in Go Go Go Joseph, she sounded too much like Mrs Overall to me)
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Post by daisy24601 on Jul 31, 2021 10:43:06 GMT
I saw Joseph tonight and it was a tale of two halves. First half underenergised, AB flat at times, all going through the motions. Second half was electric, even JD was on reasonable form. What is it though with certain people who feel the need to shout out the names of certain star cast members at quiet moments? "Go on Jason"... "I love you Jason"... That and the clappers who insist on clapping in the wrong places and on the offbeat, yet sit rigidly during the megamix... Nowt so queer as folk. I was there last night too, I cringe when people shout out a cast members name. I can't agree about it being unenergised, although I haven't seen it before to compare. It was the most lively bit of theatre I've seen in a long time and a great mood lifter. It was also my first time back in a full capacity theatre and it felt amazing! I can't believe that Joseph gets so little in the curtain call though. I know the other two are bigger names but he may as well have been in the ensemble. |
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345 posts
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Post by johartuk on Jul 31, 2021 10:45:29 GMT
What happens with the Joseph/Jacob reunion ("Jacob came to Egypt...") in this production? I remember it being surprisingly moving in the 2007 WE revival.
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Post by chestwig on Jul 31, 2021 12:48:00 GMT
What happens with the Joseph/Jacob reunion ("Jacob came to Egypt...") in this production? I remember it being surprisingly moving in the 2007 WE revival. Tbh AB appears as Jacob briefly in When Jacob came to Egypt and that’s it. Fine in this production it’s too drawn out otherwise.. |
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Post by Oliver on Jul 31, 2021 12:51:27 GMT
I don't know how AB plays it but I thought Linzi found just the right level a few weeks ago. I had been a little apprehensive about booking after hearing how Sheridan had overdone it but I think Linzi managed to tone it down so that the humour was apparent but not OTT (one exception being when she sang the jailer's lines in Go Go Go Joseph, she sounded too much like Mrs Overall to me) I only have the Palladium cast recording to go by (I haven't seen Linzi live), but she seems perfect for the role of Narrator. She would be my choice for sure. She manages to bring an infectious enthusiasm to the part that is quite unique, and she does this through her singing alone. There would be no need for any of that silliness from her. The YT clip was of the lead who plays the part most nights in the current production. It would be unfair for me to judge her performance based on that alone, but what I saw in that clip gave me some indication of the approach they have taken (yet again). |
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Post by Deleted on Jul 31, 2021 13:36:58 GMT
What happens with the Joseph/Jacob reunion ("Jacob came to Egypt...") in this production? I remember it being surprisingly moving in the 2007 WE revival. That moment was always the heart of the show, the one time where there was a chance to feel something inside, and bring the show to its end, before the finale, but having the narrator play Jacob just throws that moment away, it's completely missed. The chariot of gold is basically a bike.
Something i noticed on Linzi's first show, during Go Go Go Joseph, she sang 'Now into Joseph's prison cell
Were flung two very frightened men' when they had actually made the Baker into a female. I assume they have changed the line? Anyone know what it is?
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Post by chestwig on Jul 31, 2021 15:07:11 GMT
What happens with the Joseph/Jacob reunion ("Jacob came to Egypt...") in this production? I remember it being surprisingly moving in the 2007 WE revival. That moment was always the heart of the show, the one time where there was a chance to feel something inside, and bring the show to its end, before the finale, but having the narrator play Jacob just throws that moment away, it's completely missed. The chariot of gold is basically a bike.
Something i noticed on Linzi's first show, during Go Go Go Joseph, she sang 'Now into Joseph's prison cell
Were flung two very frightened men' when they had actually made the Baker into a female. I assume they have changed the line? Anyone know what it is?
No that line is still there. Not changed. |
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Post by chestwig on Jul 31, 2021 15:08:44 GMT
That moment was always the heart of the show, the one time where there was a chance to feel something inside, and bring the show to its end, before the finale, but having the narrator play Jacob just throws that moment away, it's completely missed. The chariot of gold is basically a bike.
Something i noticed on Linzi's first show, during Go Go Go Joseph, she sang 'Now into Joseph's prison cell
Were flung two very frightened men' when they had actually made the Baker into a female. I assume they have changed the line? Anyone know what it is?
No that line is still there. Not changed. |
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Post by chestwig on Jul 31, 2021 15:16:12 GMT
No that line is still there. Not changed. Only bit that is different is. Next the Baker rose to tell Her dream. Hoping it would have a similar theme… |
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Post by Deleted on Jul 31, 2021 16:05:02 GMT
How odd. Why change it to a female if they're not going to change the lyric? Why not keep it the same as written.
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Post by chestwig on Jul 31, 2021 16:28:14 GMT
How odd. Why change it to a female if they're not going to change the lyric? Why not keep it the same as written. Who knows…. |
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Post by Deleted on Jul 31, 2021 20:05:06 GMT
I’ve been twice and Linzi and Alexandra both did it like this:
- In the prison cell with Joseph were two very frightened MEN
- First the butler……. nervously h’she…
(corrects he to she…when making eye contact with butler)
- spoke of what SHE saw
(she emphasised with a nod).
So it progressed and fully acknowledged the lyrics and gender were different.
One of the many “jokes.”
Make of that what you will!
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Post by Deleted on Jul 31, 2021 20:07:57 GMT
^ This. The original Palladium version was a perfect blend of the storytelling, quality performances & voices, colour, spectacle but still had heart. Sure, some bits were camp but it was thought through and part of the whole. What I saw with SS but like being bludgeoned with a hammer…nudge nudge wink wink…do you get it…type humour. Whilst I’m not expecting it to be ‘that’ different, I am at least looking forward to seeing it performed with layers and a thrilling voice. Agree 100%. 1991 was Joseph perfection, getting the balance of everything right. Really didn’t like the Sheridan Narrator. Linzi and to an extent Alexandra vastly improve this production. But it’s a gulf away from Pimlott’s version which was sublime. |
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Post by Deleted on Jul 31, 2021 20:20:39 GMT
I’ve been twice and Linzi and Alexandra both did it like this: - In the prison cell with Joseph were two very frightened MEN - First the butler……. nervously h’she… (corrects he to she…when making eye contact with butler) - spoke of what SHE saw (she emphasised with a nod). So it progressed and fully acknowledged the lyrics and gender were different. One of the many “jokes.” Make of that what you will! I must have missed the nuances of that 'joke' |
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Post by Deleted on Jul 31, 2021 20:23:38 GMT
I’ve been twice and Linzi and Alexandra both did it like this: - In the prison cell with Joseph were two very frightened MEN - First the butler……. nervously h’she… (corrects he to she…when making eye contact with butler) - spoke of what SHE saw (she emphasised with a nod). So it progressed and fully acknowledged the lyrics and gender were different. One of the many “jokes.” Make of that what you will! I must have missed the nuances of that 'joke' I think if by the end of Act 1 your brain had started subconsciously filtering out the “jokes” that would be fully understandable! |
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2,022 posts
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Post by distantcousin on Jul 31, 2021 20:55:59 GMT
I’ve been twice and Linzi and Alexandra both did it like this: - In the prison cell with Joseph were two very frightened MEN - First the butler……. nervously h’she… (corrects he to she…when making eye contact with butler) - spoke of what SHE saw (she emphasised with a nod). So it progressed and fully acknowledged the lyrics and gender were different. One of the many “jokes.” Make of that what you will!
hehe. A friend who saw it separately to me thought Linzi made a mistake. I was like, nah, Alexandra did it too!
(I thought it was obvious it was scripted?!)
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2,022 posts
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Post by distantcousin on Jul 31, 2021 21:01:47 GMT
^ This. The original Palladium version was a perfect blend of the storytelling, quality performances & voices, colour, spectacle but still had heart. Sure, some bits were camp but it was thought through and part of the whole. What I saw with SS but like being bludgeoned with a hammer…nudge nudge wink wink…do you get it…type humour. Whilst I’m not expecting it to be ‘that’ different, I am at least looking forward to seeing it performed with layers and a thrilling voice. Perhaps the over-familiarity of the piece has brought out a "knowing" tendency in the director - i.e. we're all in on the joke.
I did find it strange the way dramatic plot developments are treated with such a light touch (even musically)
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2,022 posts
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Post by distantcousin on Jul 31, 2021 21:05:07 GMT
How odd. Why change it to a female if they're not going to change the lyric? Why not keep it the same as written. Who knows….
I interpret it as a reiteration of the Narrator and the kids in the present day are "play-acting" most of the show, and it just serves to emphasise this?....
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Post by Deleted on Jul 31, 2021 21:15:52 GMT
^ This. The original Palladium version was a perfect blend of the storytelling, quality performances & voices, colour, spectacle but still had heart. Sure, some bits were camp but it was thought through and part of the whole. What I saw with SS but like being bludgeoned with a hammer…nudge nudge wink wink…do you get it…type humour. Whilst I’m not expecting it to be ‘that’ different, I am at least looking forward to seeing it performed with layers and a thrilling voice. Perhaps the over-familiarity of the piece has brought out a "knowing" tendency in the director - i.e. we're all in on the joke.
I did find it strange the way dramatic plot developments are treated with such a light touch (even musically)
I think its more that the director doesnt have confidence in the piece itself and felt the need to add jokes and comedy where it wasnt needed. What it adds in comedy it loses in vocals and heart. |
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Post by Roxie on Jul 31, 2021 21:33:45 GMT
I’ve been twice and Linzi and Alexandra both did it like this: - In the prison cell with Joseph were two very frightened MEN - First the butler……. nervously h’she… (corrects he to she…when making eye contact with butler) - spoke of what SHE saw (she emphasised with a nod). So it progressed and fully acknowledged the lyrics and gender were different. One of the many “jokes.” Make of that what you will! How do Linzi and Alexandra compare? Not as in who’s better, cos that’s subjective, but the differences in their performances? I’m intrigued to see Alexandra, I do think she’s got an amazing voice. I’ve booked to see 2 more Linzi shows on Aug 28th and Sept 4th. I could perhaps squeeze another one in but it’d have to be Aug 30th cos of keeping train costs down, is that too much Joseph in too short a space of time? Is there such a thing? Lol |
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2,022 posts
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Post by distantcousin on Jul 31, 2021 21:37:29 GMT
Perhaps the over-familiarity of the piece has brought out a "knowing" tendency in the director - i.e. we're all in on the joke.
I did find it strange the way dramatic plot developments are treated with such a light touch (even musically)
I think its more that the director doesnt have confidence in the piece itself and felt the need to add jokes and comedy where it wasnt needed. What it adds in comedy it loses in vocals and heart. Sadly I never saw the Pimlott version, so I have nothing to compare it to. |
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Post by Deleted on Jul 31, 2021 21:39:23 GMT
I’ve been twice and Linzi and Alexandra both did it like this: - In the prison cell with Joseph were two very frightened MEN - First the butler……. nervously h’she… (corrects he to she…when making eye contact with butler) - spoke of what SHE saw (she emphasised with a nod). So it progressed and fully acknowledged the lyrics and gender were different. One of the many “jokes.” Make of that what you will! How do Linzi and Alexandra compare? Not as in who’s better, cos that’s subjective, but the differences in their performances? I’m intrigued to see Alexandra, I do think she’s got an amazing voice. I’ve booked to see 2 more Linzi shows on Aug 28th and Sept 4th. I could perhaps squeeze another one in but it’d have to be Aug 30th cos of keeping train costs down, is that too much Joseph in too short a space of time? Is there such a thing? Lol Performances directed the same I’d say, and indeed same as SS last time. So it’s subjective taste which you prefer :-) Very minimal differences. Like they all do their “native” accents for the jailer. The Scouse side of the North West spectrum for SS. West Midlands for Linzi. London for Alexandra! But it’s all working off the same Narrator “blueprint” for this production. |
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