'Cats' the Motion Picture

A little while ago it was announced that Tom Hooper, director of the film version of 'Les Miserables', is working on a live action feature film of Andrew Lloyd Webber's 'Cats'. Universal Pictures has owned the rights for decades and an animated feature film was to have been produced in the early 1990s by Steven Spielberg's Amblimation who got so far as to produce concept art before the plug was pulled.
At the time 'Cats' was intended to have been classic 2D character animation on top of background models which would have been created from the concept art. Spielberg had apparently come up with the idea that 'Cats' was to have taken place in a Blitzed London of the World War 2 period and the concept work reflects this. The artists explored London (alongside the original designer of 'Cats', John Napier) to discover the unseen side of London replete with tip-sights and the remaining scars of wrecked London (no doubt, long since replaced).
It's also intriguing that noted playwright Tom Stoppard created a script that impressed Lloyd Webber.

You can see examples of the concept art here:
https://one1more2time3.wordpress.com/tag/cats/

Of course, had that production happened it would, no doubt, look rather dated given that most animation these days is 3D CGI and while the art work produced offers a tantalising hint of what may have been, it may have long been forgotten as being a quaint piece.
Now, with the re-emergence of the live-action musical feature, 'Cats' is once again in the offing - though as a live-action feature rather than an animated one, which is perhaps the more obvious choice for feature film translation.
Numerous problems now face the new film-makers in translating one of the more inherently theatrical musicals into something that viably works on the big screen. How to resolve those issues are, no doubt, what the creatives are currently working on.

The biggest issue facing them must be the idea that the felines are to be portrayed by a human cast. On stage this is not really a problem given theatre audiences are more forgiving and readily willing to suspend their disbelief. This is not so when it comes to movies, so a way must be found for a film audience to buy into the human playing a cat idea. One answer is to have the human play the equivalent of a cat. Or to put it another way, have a 'real' cat (i.e. a filmed feline or CGI creation of one) replaced at some point by a human who would go on to portray that particular cat throughout the majority of the movie (assuming that the human reverts to the feline creature at the film's end).

Personally, I am a more forgiving viewer when it comes to film musicals but this is something I have occasionally pondered - hence my answer to the question above. On film, of course, a sequence must be created in order to establish that idea, to give a reason for its happening, in order to give the audience the chance to buy into the premise. The idea that sprung into my mind follows.

The plot of 'Cats' revolves around a tribe of felines meeting up in a junkyard on the one night of the year where their leader, 'Old Deuteronomy', elects which of them shall be granted a new life and ascension to the fabled 'Heaviside Layer'. Of course, on film, the plot may be substantially re-written (as has happened to other films adapted from stage musicals) though I do wonder to what purpose this route might be taken. Rather, let's assume that the plot remains largely intact, even the idea of the junkyard as the location. Naturally the junkyard can be composed of numerous areas of interest, rather than the basic location as used onstage, but this is really not that relevant at this point.

So, we have cats congregating in one place - cats of various backgrounds and from various locations around London (since London locations are predominant throughout T S Eliot's poems this would make sense).
We have the one night of the year, under the 'Jellicle Moon', when this happens.
We have the idea woven throughout a number of the lyrics and the original staging that gives the cats a mystical, magical property ('Mister Mistoffelees' being an obvious element, not to mention the idea of the 'Heaviside Layer') and I would utilise that idea from the start.

So ...

Night is falling over London. We are somewhere in the East End, some years before any urban regeneration takes place. The sun is setting amidst clouds as we see a cat leaving its human home via an open window. We follow it down little-used back-alleys, shadow falling all around.
Elsewhere, another cat crosses a road, cars flashing past. Another cat. And another. All of various types and sizes. They are moving with a purpose. One or two join each other in their journey.
We see the rubbish tip toward which the felines are travelling. It is in an undisclosed location in the East End and is littered with detritus from the numerous decades of its existence. Naturally it contains at least one prominent automobile wreck, a large tyre laying next to it. This prominent feature will come to form the centre of the cats' festivities. There are various level spaces of differing sizes (to fascilitate the forthcoming dances). The junkyard backs on to some old buildings that, at first, look derelict but are, in reality, inhabited by a human or two.
A dry thunderstorm is brewing, the cloud cover quite voluminous. Flashes of lightning illuminate the near distance as thunder rolls. The junkyard, inanimate as it is, seems to begin to thrum with energy, with life. Something is happening. The cats sense it too but appear undisturbed by the atmospheric events themselves. One by one they look up as the full moon is glimpsed through the clouds.
The cats get nearer and nearer to the tip which, if my mind is not wandering, appears to glow here and there for brief moments at a time.
Suddenly a huge crack of thunder and a searing bolt of lightning strikes the prominent automobile wreck, sending huge amounts of sparks out and across the yard. Simultaneously the 'Cats' Overture begins. The winds pick up, pushing the voluminous clouds away. As the cats wait at the edge of the tip the moon is finally revealed in all its glory, its ethereal glow illuminating the junkyard which sizzles with new-found electrical energy, creating an effect which pays homage to the strip lights of the stage-version. The cats sit up at attention, prone, waiting. The tip glows, releasing some sort of energy into the atmosphere as the moon's light does the same from the opposite direction. Beyond this sphere of light we begin to see one, two pairs of cats eyes peering through the darkness beyond. More and more eyes appear as the Overture builds. Throughout we see various parts of the junkyard, various pieces of junk which may, or may not, be used later. the ghostly light build alongside the music until, suddenly, a cat breaches the border between light and dark. The music ends as it does so. The magic illumination of the tip fades but the moon's magic light remains and as the cat crosses the light border we see a magical transformation: the cat's front paw is the first to enter the light and as it does it transforms into a humanoid hand, a humanoid arm. Bit by bit as the cat enters the light its feline body is transmogrified into that of a feline in human form. Once this metamorphosis is complete (and it is done so in a matter of seconds) the cat contemplates its form. As another cat begins to enter the light the Prologue, 'Jellicle Songs for Jellicle Cats, begins. As they enter the moonlight each cat in turn is transformed.

Of course the sequence could be inverted: we could see the junkyard first, the lightning strike and beginning of Overture. Throughout the music we see the supernatural events of the tip and the moon whist inter-cutting with the cats leaving their homes and making their way to the junkyard (which in this case would be emitting an illumination seen from a distance which attracts the cats).

Though the intensity of the moonlight will fade throughout the opening it will remain a potent force and on the odd occasion we will see the cats in their natural form again, when the cloud cover is great enough to obscure the moon. There may even be an occasion, during a more placid moment, when we see a cat or two transform to a natural cat and back again as a large cloud swiftly passes over. For it is the moon that is magical here. The moon that is so revered by these felines who, now and again, will glance at it in awe, until finally the 'Heaviside Layer' is revealed.

Now, I've no idea what the film-makers are planning to do but this is an example of how I'd approach 'Cats' as a movie. Naturally these ideas are mine and, as far as I'm aware, no one else shares them. All Rights Reserved and all that ...

"Cats", Glasgow King's Theatre, 13/9/16

Review written for Backstage Pass:

http://www.backstagepass.biz/2016/09/theatre-review-cats-kings-theatre.html

Since its premiere in 1981 Andrew Lloyd Webber's "Cats" has become an iconic musical that sits firmly among the pantheon of musical greats. Heralding the era of the "mega-musical" at the beginning of the '80s due to its epic staging and design "Cats" could potentially look and feel rather quaint in comparison to recent musicals. As it is "Cats" really has nothing to compare to it and remains a powerful theatrical production. "Cats" has had many lives with various changes along the way and this current production is based on the incarnation that appeared at the London Palladium in recent years.

Based on T. S. Eliot's "Old Possum's Book of Practical Cats" the lyrics (i.e. Eliot's poems) are full of wit and pathos and Lloyd Webber's setting of them is, for the most part, quite exceptional. The musical contains some of his catchiest material and features what may be his most iconic composition, "Memory". Some of the changes made, including the updated "Rum Tum Tugger" and other reworked musical sequences, are not always for the better but the show still packs a powerful, mesmerising punch.

Set around the one night of the year when cats congregate for the "Jellicle Ball" we are witness to the various cats singing and dancing about their exploits in the hope that they will be the one chosen to ascend to the "Heaviside Layer" and attain a new life (ultimately a surprisingly moving moment onstage). There really is little more than that to the musical which is, perhaps, more of an experience to enjoy than a story to follow, but "Cats" has never pretended to be anything other than what it is and makes no pretensions otherwise. 

John Napier's famous junkyard set is still a sight to behold despite being somewhat squeezed onto the King's Theatre stage (the dancers cope effortlessly with any spacing issues) and Napier's costumes remain equally as exciting and original whilst the lighting by Howard Eaton (original lighting by David Hersey) is dynamic and integral to the production. 

The sound design is en pointe and the orchestra is strong, albeit a little thin when compared to the original's orchestrations, and manages to convey most of the nuances in Lloyd Webber's score.

Trevor Nunn's direction and Gillian Lynne's choreography (essential in the story telling) still hold up with sequences that continue to thrill and move the audience with Lynne's dances remaining some of the most stirring to appear onstage (Bill Deamer is credited with the "Gumby Cat" tap choreography, one of the recent amendments, which fits well with the rest of the production).

The production is blessed with a cast who sing and dance confidently and with seaming ease. It is perhaps unfair to pick out any one performer but Marianne Benedict's "Grizabella" is the emotional heart of the show and her performance is an artful display of the former glamour and regality of the cat's past infused with the tragedy of her present. Benedict's powerful voice created a stirring "Memory" that prompted applause from the audience well before the song had ended. Matt Krzan's "Munkastrap" is a confident leader and the "Old Deuteronomy" of Kevin Stephen-Jones is a noble and gentle creation.Greg Castiglioni's "Gus" is a moving and tender portrayal and welcome respite amongst the frenetic action throughout. Shiv Rabheru as "Mistoffelees", Joe Henry and Emily Langham as "Mungojerrie" and "Rumpelteazer", not to mention Marquelle Ward as "Rum Tum Tugger, Lucinda Shaw's "Jennyanydots" and Lee Greenaway as "Skimbleshanks" are among the many shining lights of an energetic and kinetic company that is filled with engaging performers strong in voice and body. 

It may be a product of its time but "Cats" remains one of those awe-inspiring theatrical experiences which will truly live in the memory (pardon the pun) "now and forever" and I hope it continues to capture the imagination of audiences young and old.

"Kinky Boots", Adelphi Theatre, London, 29/7/16

Joyous, ebullient, engaging and thoroughly entertaining, "Kinky Boots" is a wondrous musical experience that lifts the spirit and rejuvenates the soul. Based on the film - inspired by a true story - the musical tells the story of Charlie Price who reluctantly takes over the failing family shoe factory in Northampton following his father's death. In London he encounters Lola, a drag queen, who inspires him to reinvent his product to save the factory and its workforce. Along the way Lola and Charlie discover love and acceptance and overcome prejudice and fatherly expectation.

The score by Cyndi Lauper may not be the most musically complex but it perfectly suits the tone of the show and is a major element in the uplifting power of the show. Harvey Fierstein's book follows the original movie quite closely, adapting the plot well for the stage. Though the plot details are streamlined somewhat this is all to the benefit of the show's focus: Charlie and Lola and their relationship. Only in such a musical could the detail omitted be acceptable and yet the story remain so very clear. This is, of course, due in part to the director and choreographer, Jerry Mitchell, who works the stage really well, supported by a set design that looks perfect and costumes that light up the stage.

The cast are nothing short of excellent and one must feel a tad sorry for Killian Donnelly who plays 'Charlie' as his role - and perfect acting - is naturally overshadowed by Matt Henry's 'Lola', a dynamic force of nature if ever there were one. Together the partnership is a dream and the contrast between parts is perfectly attuned and each presents a three-dimensional character who elicits a strong response from the audience. The supporting roles are equally as charged and Lola's 'Angels', the drag queens who support her, are beyond entertaining and their use throughout the show is brilliant.

"Kinky Boots" is a truly uplifting production and a show with a message that, while not exactly subtle, does not overpower the show in any negative aspect. In a turbulent world "Kinky Boots" is a pure joy and exactly the entertainment needed to remind us how wonderful people can really be.

"Rehearsal For Murder", 22/8/16, Theatre Royal Glasgow

Review written for Backstage Pass:

http://www.backstagepass.biz/2016/08/theatre-review-rehearsal-for-murder.html

Playwright Alex Dennison (Alex Ferns) is mourning the loss of his leading lady - and fiance - Monica Welles (Susie Amy), who apparently committed suicide following her West End stage debut. A year later the cast and crew re-assemble at the same theatre to read his new play - a mystery echoing the events of a year before. The cast soon realise that the scenes eerily resemble encounters they may or may not have had with Monica and it becomes apparent that Alex believes that one of the persons present is, in fact, guilty of her murder.

Originally a television film written by Richard Levinson and William Link, creators of "Columbo" and "Murder, She Wrote", this adaptation by David Rogers is the first presentation of the Classic Thriller Theatre Company which replaces the successful Agatha Christie Theatre Company.

The adaptation is well constructed with some witty lines but there are some clunky elements - none more so than the clichéd Welsh assistant (Georgia Neville) who becomes quite a distraction because of the unsteady accent - and the play is a bit of a slow starter but soon picks up. There are a few over-the-top moments in the second act but Roy Marsden's direction is generally simple and clean and his use of theatrical devices, including his handling of the intrusion of the past into the present, is entirely appropriate as is the set and costume design by Julie Godfrey.  Dan Samson's sound design is a little wanting and the occasional use of dull, obvious, movie-of-the-week music is uninspired. The lighting by Doug Kuhrt is atmospheric and used efficiently even if it does leave the occasional actor in semi-darkness.

For the most part each cast member has a decent part to play, although some are more successful than others with some of the weaker elements, including a variety in the quality of vocal projection, highlighted against the stronger. Alex Ferns is strong and dominant as the playwright out for truth and he has hardy support from the charismatic Mark Wynter and the firm Ben Nealon amongst others as the actors in his play. Susie Amy as the deceased movie star has an appropriate aloofness and beauty whilst Anita Harris brings a class and glamour entirely suited to producer Bella Lamb.

A solid, sturdy whodunit with a clever structure and intriguing twists this production keeps the audience guessing and is a worthy follow up to the Agatha Christie fare and a secure beginning for the Classic Thriller Theatre Company.

"The Rocky Horror Show" Glasgow King's Theatre, 8/8/16

Written for Backstage Pass:

http://www.backstagepass.biz/2016/08/theatre-review-rocky-horror-show-kings.html

The original cult rock 'n' roll musical returns to Glasgow! Although, perhaps, the term 'cult' is used erroneously these days as "The Rocky Horror Show" (or "Richard O'Brien's Rocky Horror Show" as it is advertised these days) has long been part of the theatrical mainstream since it's premiere at the Royal Court Theatre in the early 1970s. 

This current production is, in effect, a revival of the 40th anniversary tour once again directed by Christopher Luscombe and it is an exuberant and vivacious party for all present.  

A B-movie sci-fi/horror homage, the plot follows clean-cut "Brad" and "Janet" as they encounter the hedonistic alien "Dr. Frank-N-Furter" and his cohorts from the galaxy of "Transylvania" and - depending on your point of view - their descent into darkness and/or their liberation from society's constrictions.

This is actually the second incarnation of "Rocky Horror" that Luscombe has directed: his first version appeared in 2006 and was a more theatrically pleasing and inventive production, utilising dimensional staging and even shadow-puppetry,  than this current version which, first seen in 2013, returns to a broader, more concert-like feel and presentation, prevalent throughout the late 1990s, complete with the use of hand mics and cut-out sets which blur the musical's roots as a musical play (albeit a unique one). 

Luscombe's direction remains witty and vibrant as does the choreography by Nathan M Wright which, of course, features the "Time-Warp". Beyond the occasional cardboard cut-out-like set the production design is top notch and colourful; the iconic costumes, as ever by Sue Blane, still pop out like works of art (albeit very sleek ones); the lighting (by Nick Richings) is dynamic and the band (visible above the stage) is equally as strong.  

And that is the biggest flaw in this otherwise fine production - it's too polished and flashy; too knowing. Indeed, the original productions had an edge and feel to them redolent of being thrown together; a rawness that invigorated the show and its audience and which seemed more appropriate to Richard O'Brien's B-movie dialogue and simple, catchy songs with their clever, witty lyrics. Whilst there is no lack of energy here the production certainly lacks something of what made those original productions so original and fresh and it is, perhaps, inevitable that this should become so in a musical that has been as popular as this one for the best part of half a decade. But that is not to detract from the sheer joy and fun that this production produces, be it from cast or audience.

The cast are led by Liam Tamne as "Frank-N-Furter" in a performance that dares to vary from the more usual paint-by-numbers Tim Curry knock-off and which is, for the most part, an exciting success;  Tamne is certainly the naughtiest "Frank" to grace the stage in many a year. Diana Vickers holds her own as "Janet" whilstRichard Meek creates a more rounded "Brad" than one would think possible; he is engaging to watch and his beautiful voice is one of the best in the production. "Rocky Horror" veteran Kristian Lavercombe is ever reliable as "Riff Raff" with his dynamic vocal ability setting the bar for his fellow "Transylvanians", his energy never dropping for a moment. The same can be said of Kay Murphy as "Magenta" and Sophie Linder-Lee as "Columbia" who both make the most of their limited material. Dominic Anderson's "Rocky" is certainly a feast for the eyes and his comedic talents are clearly displayed here. Paul Cattermole is a more hesitant "Dr. Scott" than most but his "Eddie" is a more full-on affair and Norman Pace fares excellently as the "Narrator" where he is quick and funny, handling his audience expertly.

"The Rocky Horror Show" remains a thoroughly engaging experience and it remains one of the most striking examples of the relationship between the performer and their audience, being one of the more successful shows in bringing a non-traditional theatre-goer into the auditorium. The messages "Rocky Horror" portrays are still as important as ever and it's evident that "Rocky" will endure and in whatever re-incarnation it chooses. 

"Funny Girl", Savoy Theatre, London, 28/7/16

Second time around.

I'll admit, given my first experience with Sheridan Smith in the role, I was kind of hoping her understudy, Natasha J Barnes, would be on (she now shares the role with Smith who, for some reason, is unable to perform eight shows a week) especially given the raves she received when she filled in for a few months when Smith took leave (in fact the reviews were better for Barnes than Smith). As it happened, Smith was on. I had my fingers crossed she would, at least, get through the first act but otherwise left expectations at the door. As it turned out she completed the entire show. Just.

This production transferred from the Menier Chocolate Factory and was reworked in certain regards when it reached the West End stage - the design was enlarged and dance sequences were expanded. With a revised book by Harvey Fierstein (original by Isobel Lennart), Music by Jule Styne and lyrics by Bob Merrill the musical contains some iconic numbers including 'People' and 'Don't Rain On My Parade' and originally starred Barbra Streisand who has been intrinsically linked with the show ever since. It is, perhaps, because of this fact that a revival has yet to appear on Broadway and has only now materialised in the West End of London. Smith's profile and following was clearly enough to give the producers confidence in transferring to the West End (a confidence that must have been shaken following recent events) and, if nothing else, this production does indicate that "Funny Girl" need not rely on Streisand to sell it. It does, however, require a comedic actress with strong vocal gifts to lead the production. More on that later.

The production itself is relatively simple - not surprising given where it started - and doesn't have a massive chorus or orchestra. The simple production design by Michael Pavelka has some lovely elements including mirrors which are used evocatively. My only real qualm is with the backdrop which shows the auditorium of what appears to be a grand opera house, rather than a Broadway theatre fitting for the Zeigfield Follies back in the day. Travelators are used to effect throughout but this is the extent of the most technical aspects of the show (which makes the previous cancellation due to 'technical difficulties' harder to believe). Mark Henderson's unobtrusive lighting fits easily into the simplicity of the production as do the costumes of Matthew Wright.

Lynne Page's choreography is likewise relatively simple yet effective and the direction by Michael Mayer serves the show well, especially his use of Pavelka's mirrors which reflect the idea that the story is actually told in flashback.

The orchestra, which actually contains a string section, may be a touch thin on the ground but the sound they produce is quite impressive and the musical direction is confident, although 'Who Are You Now' (which in this production becomes an entirely pointless duet between 'Fanny' and 'Nick') and 'The Music That Makes Me Dance' are performed at such a tempo as to make their emotional content weak and ineffective.

The company are really excellent and contain numerous stand-out performances, from Marilyn Cutts, Valda Aviks and Gay Soper as 'Mrs. Brice' and her friends to Bruce Montague as 'Florenz Zeigfeld' who is both commanding and tender. But Joel Montague as 'Eddie Ryan' is a revelation. He dances and sings strongly, creating a character of real dimension and one the audience can empathise with. Darius Campbell as 'Nick Arnstein' cuts a striking and dashing figure and his vocals are as strong as he is still. It is this stillness which creates a dramatic contrast to the hyper-active 'Fanny Brice' of Sheridan Smith. Indeed, Smith's 'Fanny' is quite chaotic and one is not always convinced this is part of the performance. There are several occasions throughout the show where it seems Smith is veering on the edge and this sense of uncertainty and danger is one that can make an audience uneasy. Based on what I witnessed of her performance previously, this time around she is certainly more assured and confident, her diction clearer and her voice stronger (and more in tune), but she still relies too heavily on one or two vocal tricks and facial expressions, which actually become predictable throughout the show, to really make her performance entirely believable. She is indeed funny at times, even affecting, but there are too many points in the production where she is seemingly almost out of control. Her voice is not strong enough to handle the demanding score and in the bigger numbers it was very clear when Smith was gearing up to hit a note and I wonder why some of the numbers' keys were not lowered (this would certainly have aided Smith greatly). Whilst she managed to hit virtually all the notes, the sound that came out often sounded shrill, strained and thin and I found myself thinking of many a mediocre karaoke singer singing those same songs in bars around the world. The fact that Smith visibly broke character to celebrate her getting through 'People' is also not a great indicator. With all that said, Smith can be a moving actress and she does often find little moments to really show her talent. It's just a shame this is inconsistent.

But the show works, even if the revised book is not as successful as one would hope (the second act appears to need more work whilst the first wouldn't be harmed by a little trimming), and this production shows that the ghost of Streisand need not deter producers and directors from staging the show more often. It does show that a strong lead is required, however, and that lead need not be a famous name.

The show has announced a UK tour which is to commence in the new year and I only hope that the producers take these facts into consideration when casting 'Fanny'. Given the reviews she received, they could do worse than cast Natasha J Barnes in the role. At least then I'd get to see her in the part.

"Breakfast At Tiffany's", Glasgow Theatre Royal, 26/5/16

Richard Greenberg's adaptation of Truman Capote's famous novella was first seen on Broadway in 2013 and was the second attempt at a staging by director Sean Mathias (the first, in London's West End in 2009, was written by Samuel Adamson) and neither production proved to be what one would consider a success, leading others to speculate that perhaps the story is one of those which doesn't translate adequately to the stage. This new production by the Curve Theatre, Leicester, may have the doubters proclaiming they were correct although, in reality, there are glimmers throughout that illustrate the true potential of the play.

Greenberg's script is clunky in places and really could do with some trimming although the devices he utilises work well, including much of the narration by the character 'Fred'; such a device could have come across as stale but director Nikolai Foster is adept at making it anything but. 

Foster is a director who works with his designers to create a fluidity onstage that is pleasing to the eye and the lighting and set design are positive additions to the production and raise the standard of the entire production.

The cast are uniformly quite excellent, including Matt Barber as 'Fred', with the only exception, sadly, being the actress playing the major role of 'Holly Golightly'. It may be an unfortunate side-effect of casting several actresses in the role for the duration of the tour, but Emily Atack, whilst attractive to look at, lacks the depth required for the pivotal role and she comes over as somewhat under-rehearsed, lacking in confidence and it feels she may be overwhelmed with the demands of the role. Her performance is two-dimensional with not enough variety to give it the edge required. She does, though, offer glimpses of her potential in the role but she fails to take full advantage when these crop up. Her singing voice is delicate and sometimes fragile, not inappropriate to the character, but the fact that three songs are plonked almost randomly throughout the script means they serve no purpose whatsoever, save to placate the audience expectation that they'll hear the famous 'Moon River' which was composed for the film adaptation of the novella.

It should be said that Greenberg's adaptation is based on the book rather than the film and so the play is more layered and multi-faceted creating a grittier, darker plot within a grimmer New York than that portrayed in the movie. This, ultimately, creates a more interesting drama and, given a tighter reworking by the author and a more competent lead, shows this particular adaptation has some real potential.

"Joseph And The Amazing Technicolor Dreamcoat", Glasgow King's Theatre, 10/5/16

Written for Backstage Pass:

http://www.backstagepass.biz/2016/05/theatre-review-joseph-and-amazing.html

Vibrant, vivacious and joyous Joseph and the Amazing Technicolor Dreamcoat explodes onto the Glasgow stage in Bill Kenwright's perennial touring production of Andrew Lloyd Webber and Tim Rice's timeless musical, their first to ever be publicly performed.

Since its premiere on the stage of Colet Court School in 1968 as a 20 minute cantata "Joseph ..." has been expanded over the years to a full blown musical entertainment; its inherent simplicity, catchy pastiche-laden score, humorous lyrics and the familiarity of one of the most famous stories of the Old Testament all coalesce to create one of the most popular pieces of musical theatre ever. In fact there can be few people left in the western world who is not aware of "Joseph ..." or who has not heard at least one of its musical numbers.

Tim Rice's lyrical talents are on full show in this production as is Lloyd Webber's inherent melodic knack and Kenwright directs a production that is full of life and wit, almost perfectly complimenting the musical material. "Joseph ..." is certainly Kenwright's most directorially triumphant production, no doubt aided by Henry Metcalfe's choreography which is equally in tune with the comedic, ebullient nature of the show and full of vigour and energy.

There are some transitions that threaten to halt the show's flow and which should be worked into the production proper whilst there is also some stage business that is little more than filler - as if to beef up the running time of a show which is, in reality, still a relatively short one.

The same could be said of some musical moments where sequences are slowed down unnecessarily causing the rhythm of the show to drag and, where lyrics are sung, potentially damaging some of the many lyrical witticisms of Rice.

Sean Cavanagh's design is ostensibly the same that has been used over several decades but it is, in its present incarnation, a more detailed and colourful affair and the lighting  of Nick Richings is perfectly attuned to the rich, bright production.

The sound design of Dan Samson and the musical direction of Kelvin Towse is also to be complimented and it is unfortunate that Kenwright, again, fails to credit the orchestra given the importance that musicians play in a musical but this oversight is easily corrected and will hopefully be rectified in the near future.

Bill Kenwright has assembled a truly top-notch cast for this present incarnation of his most famous production; replete with a high energy, diverse cast who sing and move with gusto. Emiliano Stamatakis makes his UK premiere in the Elvis-inspired role of "Pharaoh" and he is an attractive, engaging performer with plenty of sexual charm appropriate to the part. Lucy Kay, as the "Narrator", stuns with a powerful voice, showcasing a belt worthy of the most hardened of Broadway performers. She imbues the role with the warmth and allure necessary as the story-teller of the evening.

Of all the roles in musical theatre Joseph is not the most demanding of acting roles but it is a difficult role to pull off nonetheless as what little he is given has to convey so much; Joseph starts out as an arrogant, vain, pain-in-the-proverbial but he must still be able to attract sympathy from his audience. He must be seen to learn from his experiences and to come to feel empathy and compassion for others. In Joe McElderry, Kenwright has found someone who has a natural charm and likeability matched with a winning personality and affability that is quite perfect for the part. With his naturally pleasing smile and his truly strong vocals McElderry is a performer who engages the audience from the off and his powerful voice belies his stature. This has to be one of the most strongly cast companies in any production at present.

Powerful, radiant, energetic and vividly arresting Joseph and the Amazing Technicolor Dreamcoat defies all expectations in a production that rejuvenates a stalwart of the touring scene thanks to a superb cast and a creative team who appear to defy the temptation to rest on their laurels. A wonderfully glorious production!