A User-Driven Site for Theater in Atlanta, Georgia
Joseph and the Amazing Technicolor Dreamcoat

a Musical
by Andrew Lloyd Webber (music) & Tim Rice (lyrics)

COMPANY : Atlanta Lyric Theatre
VENUE : Earl Smith Strand Theatre [WEBSITE]
ID# 4466

SHOWING : June 07, 2013 - June 23, 2013



The well-known biblical tale of a young man with a very special gift and some very big adventures! When Joseph receives a wondrous colorful coat from his father, his jealous brothers take matters into their own hands. In Egypt, however, his fortunes take an unexpected turn for the better when he helps a troubled – but rockin’ – Pharaoh. A delightful, eclectic pop score by Andrew Lloyd Webber highlights this timeless favorite for audiences of all ages.

Director/Choreographer Dustin Lewis
Co-Choreographer Elizabeth Neidel
Wife/Ensemble Amy Alford
Ensemble Maggie Arias
Ensemble Connor Bowler
Levi/Pharoah Clint Clark
Ensemble Grace Constantino
Narrator Rebecca Galen Crawley
Zebulon Barrett Crowder
Mrs. Potiphar/Wife/Ensemble Priscilla Curtis
Ensemble Emerson Delonga
Ensemble Everett Delonga
Ensemble/Dance Captain Marissa Druzbanski
Wife/Ensemble Ally Duncan
Asher Dan Ford
Wife/Apache Dancer/Ensemble Natalie Rhae Goodwin
Judah Terry Guest
Benjamin Allen Hill
Simeon Jeremiah Hobbs
Ensemble Katie Horton
Ensemble Shea Jones
Joseph Matthew John Kacergis
Ensemble Aubrey Katz
Ensemble Callie Brook McClincy
Ensemble Cassady McClincy
Dan J. Koby Parker
Jacob/Potiphar/Baker Glenn Rainey
Issachar/Butler Austin Tijerina
Napthali/Apache Dancer Jeremy Varner
Ensemble Nicole Webb
Gad Tucker Weinmann
Ensemble Payten Williams
Reuben Jeremy Wood
Click to Submit Cast & Crew Info for this production


Non-Stop Activity
by playgoer
Wednesday, June 12, 2013
Atlanta Lyric Theatre’s "Joseph and the Amazing Technicolor Dreamcoat" is an amazingly energetic production, filled with a boundless set of characters, costumes galore, and excellent voices belting out Andrew Lloyd Webber’s tunes. It may be just a Bible story at heart, but it’s decked out with such a consciously varied score that the entertainment factor predominates.

Lee Shiver-Cerone’s set fills the narrow, high proscenium with two levels of playing areas, staircases on either side that occasionally provide seating for the kid’s cast. A jutting triangle of stairs in front of the stage proper serves the same purpose. Occasional set pieces roll on and off to suggest different locales (bars to suggest a jail, a camel to suggest the desert), and the backdrop functions at one time as a projection screen for a desert journey and at another time is filled with a pharaonic head to suggest Egypt. The set is more functional than beautiful.

Andre C. Allen’s lighting design doesn’t do a particularly good job of illuminating the action, with glitzy elements like colored laser lights and light-up eyes and design segments on the pharaonic head trumping the basic needs of getting the important action under the lights. Bobby Johnston’s sound design uses the typical sound-of-wall approach, in which diction is occsionally muddied. I had particular difficulty in understanding Glenn Rainey as Jacob (Joseph’s father).

Lindsey Paris’s costumes are glorious throughout, with many more changes than are truly necessary. (An entirely new wardrobe for the curtain call -- really??!?) The costumes are the visual counterpart to the varied musical score, keeping interest throughout.

Director Dustin Lewis has made particularly good use of the kid cast. (The conceit of the show is that Professor Galen Crawley is giving a lecture to the kids concerning the Biblical Joseph, with the story coming to life before our eyes.) It’s not just that the kids are all talented, which they are in spades, but that the director has leads Galen Crawley (Narrator) and Matthew Kacergis (Joseph) interact with the kids at various points. The obvious warmth of the interactions does a splendid job of humanizing these two and makes the audience warm to them.

Ms. Crawley and Mr. Kacergis are both wonderfully talented, so they make all their vocal and acting moments shine. They are ably supported by everyone. With such a large cast, and with multiple costume changes obscuring actors’ true appearances, it’s hard to pick any standouts. Everyone who is given stage time uses it to maximum advantage. Jeremy Varner and Natalie Rhae Goodwin do a thrilling Apache dance, proving that Dustin Lewis is as talented a choreographer as he is a director. Clint Clark gets the audience worked up as Elvis-like Pharoah, and to me was equally impressive as brother Levi, providing polish and precision with each movement and reaction. The highlights go on and on.

The one part of the evening that backfired, to my thinking, was the ending Joseph Megamix. The audience thought it was the curtain call and rose to its feet. The number then went on for several minutes as vocal selections from the show segued one to the next. With the actors in their fresh white gym wear jumping and moving, it had the effect of turning into an exercise class. And after the immense energy that had been expended during the show, it seemed a lot to ask of the cast. I would have preferred Joseph’s oversize coat being displayed as the final moment of the show proper, with a standard curtain call following. Let the poor cast take a rest after blasting us out of our seats! [POST A COMMENT REGARDING THIS REVIEW]


Barton Field
by John Ammerman
Relapse Theatre
Last Laugh! Stand-Up Competition
by Justin Spainhour-Roth
Elm Street Cultural Arts Village
Last Laugh! Stand-Up Competition
by Justin Spainhour-Roth
Elm Street Cultural Arts Village
Almost, Maine
by John Cariani
Centerstage North Theatre
Daddy Long Legs
by John Caird (book) and Paul Gordon (songs)
The Legacy Theatre
Four Old Broads
by Leslie Kimbell
Onstage Atlanta, Inc.
Midnight at the Masquerade
by The Murder Mystery Company
The Murder Mystery Company in Atlanta
Titus Andronicus
by William Shakespeare
Live Arts Theatre

©2012 All rights reserved.