More is less

The very fact that Western Nevada Musical Theatre Youth Company’s production of Joseph and the Amazing Technicolor Dreamcoat exists is commendable. It’s refreshing to see a small-town community event that does not involve livestock (except for a few children dressed as sheep and camels), and there are indisputably many talented young performers in the Carson Valley. However, I question the need to put them all on stage simultaneously.

The musical tells the Biblical tale of Joseph (played by Anthony Janssen), who is sold into slavery by his jealous brothers and rises to stardom via his good nature and a gift for dream interpretation. The score encompasses many contemporary musical styles, ranging from country to calypso to Elvis impersonation.

Despite its musical diversity, Joseph is one of Andrew Lloyd Webber’s simpler plays, with a straightforward story and barely a dozen necessary characters. However, the WNMTYC assembled 90 performers, a cast so massive it did not fit on stage for the curtain call.

This overshadowed some excellent individual performances. Despite the talented chorus, the ensemble dance numbers were reminiscent of cat herding. The choreography was overly complex for the size and age range of the cast. Several of the dancers appeared so concerned with the placement of their feet that they forgot to smile or enjoy the performance, and occasionally they forgot to sing. I suspect that even if the dancing were flawless, it still would have been distracting.

The play had some delightful moments, especially Joseph’s 11 brothers drunkenly belting out “Those Canaan Days” with intentionally overdone French accents. Flailing about clumsily, the actors relaxed and let their comic abilities and the humor of the script shine through.

Janssen gave a solid debut performance in the title role. His voice was pure Joseph, and his solos were the most enjoyable moments in the show. Unfortunately, his stage presence was understated, causing him to occasionally disappear into the crowd.

The role of narrator was inexplicably split among three performers (Andie Anderson, Alicia Karau, Ann Libby), adding to the show’s disjointed feel. Anderson’s strong alto was the perfect voice for the genre, loud and clear with the right amount of musicality. Karau and Libby are clearly accomplished musicians, but their vibrato-heavy cadences seemed more appropriate for Wagner than Webber.

Community theater performances are notoriously “BYOT” affairs, with performers bringing their own talent and training to the show. The role of the director is to smooth out the edges, encouraging classical musicians and garage band rockers to sing in harmony. Coordinating 90 actors is no small feat, but Joseph could have benefited from more rehearsal time and directorial focus.

If the goal of this production was to introduce a whole slew of young people to musical theater and give their parents and friends a reason to applaud, then the show was a success. If the WNMTYC was trying to attract Webber fans and other theatergoers to Carson City, then they overshot their target. Sometimes, more is less.