Joseph at the Palladium / U.K. Tour

In the earliest days (the original album) the two pastiche songs were quite cleverly stitched in, with some motivation for being there musically. Potiphar's 1920s sound referencing a time when King Tut mania influenced Art Deco design (expressed in the stage/video version design); and Elvis the Memphis Tennessee King portrays the original Memphis Egypt King. In his podcast, Tim Rice said he didn't notice the two-Memphis connection, until he tried to stop a Broadway pharaoh improvising a 'non historical' line about it; and being embarrassed when the actor pointed it out to him.

But once Country and Western, French Chanson, and bad knock-off Calypso were added, there was no strong motivation - other than the first two pastiches had opened an avenue for a blatant variety show of styles, and a green flag to kitschy comedy which can be turned Hi to Low according to the director. Huge numbers of people love it!  I'd also like to see a production where the magic of the core story is celebrated and rein back the other elements a bit, or motivate them better.

With one lyric change 'Those Canaan Days' could orchestrate well with a Kletzmer feel (though even that is not going to be 'accurate' to music of the region of the Jewish tribe of Jacob and his sons). I've no doubt, by making it serious, I'd totally ruin it for most who are keen for the Apache dance that is admittedly OTT and very entertaining in the video version.  

I wonder these days how many young audience members have a clue who Elvis is?  I'd like to see an update to a sort of James Brown/Prince figure (for young audiences to also completely fail to recognise, lol).

Thanks for clarifying. Confirms my suspicions.

Roxie, having seen AB and LH in the same week, I’d definitely recommend doing something similar and a really interesting experience. From my own experience, I didn’t get a sense of much difference in the show, I think the vibe was different with it being Linzi’s first weekend and the anticipation of seeing her on stage. If you are thinking of doing it, I’d definitely try arriving at the box office an hour before and seeing if you can get a good deal. That’s what I did for the first show with AB and got a great row M stalls seat for £35.

Thanks that’s really useful! I may go for it then!! Only I think I am going to book a ticket online rather than check with box office, only cos I live in Stoke so I’d have to base my return journey around it and if I get there an hour before and it’s sold out I can’t just pop back! I like to get things in London booked and all my ducks in a row just cos it’s an effort getting there! I’d be absolutely destitute if I lived in London, I’d be at the theatre every weekend!!

Linzi has just put on Insta that she is on tonight.

Yeah what’s with this? I think it’s great, don’t get me wrong but I’m just a lil confused when the understudies get to go on! Only if both Alexandra and Linzi are indisposed? It’s amazing more audiences are getting to see her sublime performance, I’m just confused!!

Yeah I guess she's also the first cover/alternate for when Alex is unavailable...is what it is I guess. Great for Linzi though!

I am never going to get bored of Linzi singing that score so brilliantly. So glad I was able to catch another of her shows in this run.

If the last 18 months has shown us anything, it’s that you really should do what makes you happy when you get the chance.

Linzi is on for both shows again today- she’s just posted on Twitter

I can finally post a review after having been to todays matinee show.

I was over the moon to find out that it was an unscheduled LH performance as I was desperate to see her. And boy she didn't disappoint. There's a lot to like in this production and there's some that I don't like, but let's not dwell on that first.

LH is a bloody marvel. Kt was a masterclass in musical theatre. She acts her socks off in this and has a lovely natural way with very single cast member. I especially love how great she is with the kids. Some keys are dropped and a few bits altered here and there and if you know the score inside out, it grates a little, but only a little. Her voice is gorgeous.

Jac Yarrow was a sensation. I went with no expectations of him if I'm honest but he really impressed me. Great stage presence and his voice is sublime. Doesn't dance a huge amount and you forget how little stage time the role actually gets, but I thought he was marvellous.

Jason - well, Jason is Jason. I'd read about the issues with diction and yes, if you don't know what he's supposed to be singing you wouldn't be able to understand what he was meant to be singing. He is there as the star turn though and he camps it up well.

Kids - I did like how the kids were used more than just sitting at the side of the stage ahhing....BUT it was over used. I felt uncomfortable with Potiphar being a child bearing in mind what he was meant to be seeing and getting angry about. I did like them as Ishmalites and general townsfolk.....but I didn't like them being used as brothers....they also seemed to multiply as there were 13 of them during TCD.

The female ensemble work their socks off and are good, I think the sound might have been slightly off where I was sitting (slight left stalls) as you couldn't hear a great deal of the harmonies, but never mind.

Special mention needs to go to the conductor who is obviously living his best life bringing this score to life with his 15 piece band, who sound exceptional.

So there. A great 2 hours out. Most were wearing masks, they were doing random covid passport / neg test checks, it felt safe and good to be in a theatre again.