cjhar
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Splitting Jacob and Potiphar parts?My theatre company had Jacob and Potiphar be two different actors (I was Potiphar). I know most professionals have them played by the same person. What did your company do?
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Luc
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Wow, I've never even HEARD of that before (having one person play both). I mean, in a community production with lots of people the director normally wants everybody to have a "chance to shine", so that would probably be why.
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Actor4010
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in our production of Joseph. we had 2 seperate people for Potiphar and Jacob. odd ive never heard of anyone doing the show with one person playing both. i think that would be cool though.
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Beagle On Stage
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Doubling is done in professional shows quite a bit (especially tours) because it's cheaper to pay one person to do two smaller roles than to pay two separate people to do them.
The roles in "Dreamcoat" get doubled a lot even in amateur productions because of how the dramatis personae is set up. The Brothers are a group of eleven men who aren't even onstage for half the show, so it makes sense to have them play the male Egyptian roles as well. So it's not uncommon to have a production where the brothers also play Potiphar, the Butler, the Baker, the Pharaoh, etc.
Another route is to cast a few men who don't play the brothers, but are in the ensemble. They'll play the Ishmaelites, Egyptian guards in the scene where the brothers are in Egypt, etc. They might also play those featured Egyptian roles such as Potiphar.
In my production, Jacob and Pharaoh were played by the same person. Brothers doubled as the Butler, the Baker, and Potiphar. The others went on as Egyptian chorus members until "Stone the Crows," when they changed back into Brothers and remained so until the end. Those three ensemble men remained as Egyptian guards so it wouldn't be so obvious that a third of the "chorus" was suddenly missing.
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Luc
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The brothers being double-casted is very, very common.
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LisaKitty
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| Beagle On Stage wrote: | | In my production, Jacob and Pharaoh were played by the same person. Brothers doubled as the Butler, the Baker, and Potiphar. The others went on as Egyptian chorus members until "Stone the Crows," when they changed back into Brothers and remained so until the end. |
That's exactly how we did it in the production I vocal directed. Except that Jacob/Pharaoh was also the Ishmaelites' camel (long story ... basically, he really wanted to be the camel ...)
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Actor4010
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one of the brothers (reuben) also played Pharaoh, in our show. does anyone have pics from their productions? i do
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jcstar
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| Beagle On Stage wrote: | | Another route is to cast a few men who don't play the brothers, but are in the ensemble. They'll play the Ishmaelites, Egyptian guards in the scene where the brothers are in Egypt, etc. They might also play those featured Egyptian roles such as Potiphar. |
In my production, Jacob was played by a 78 year old amd, while Potifar was played by a 40-ish man. Niether of them could sing.
I was in the Ensemble... or as our director called us - "The Unnamed Brothers." We just sat in the back of the stage watching the action while the Brothers did their bits. We got to orvide background vocals while onstage.
Then, the unnamed brothers had to do a 10 second change Potifar's scene. I remember slipping onstage and hitting my head on Mrs Potifar's bedpost. Ouch.
I then was the Livley Lad for Act Two. But I'll post a thread on that later.
I like the roles split, though.
Andy.
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Beagle On Stage
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| jcstar wrote: | | I then was the Livley Lad for Act Two. But I'll post a thread on that later. |
As an ex-Butler, I'm interested in hearing about that. I've never seen a production myself that kept it as written in the score.
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Salome
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doubling:
potiphar and jacob
rueben and Baker
judah and pharoah
butler and simeon
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jcstar
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| Beagle On Stage wrote: | | jcstar wrote: | | I then was the Livley Lad for Act Two. But I'll post a thread on that later. |
As an ex-Butler, I'm interested in hearing about that. I've never seen a production myself that kept it as written in the score. |
I approached the role in this way...
I came onstage just before the Narrator cued my line ("Then this Lively Lad said..."). My idea was Lively Lad had just come up from the prison, and notified Pharroah.
After Pharroah told me to "fetch" Joseph, I saluted him and exited. Three seconds later, Joseph, the guards and I entered. I presented Joseph to Pharroah then took my place in the chorus.
My job was to free Joseph from the chains, give the Brothers the sacks of food and to take the Golden Cup from Ben.
My story was this: I think I'm Pharroah's right hand man. I suck up to him. When he picks Joe, I am very unhappy and jealous.
A few scenes later, Joseph has appointed me his right hand man, and I freak when the Brothers come to Egypt and screw things up. I then realize that Joe is playing with them and he tells me to relax. From then on, I'm in on the joke.
So, even though I only had two lines, I did plenty with body language and facial expression.
(I sang my two lines a la Roger Daltrey)
Andy.
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Beagle On Stage
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Did you get to do the top C? I had started out doing it in the rehearsal process, but because of the unusual way we staged the "Butler approaches the Pharaoh after the nightmare" sequence, it just didn't fit the scene's style as it usually would, so we had to go with doing it in the written octave. (I'll go into how we staged it and why it meant no star notes if you want, but it's a lengthy explanation and I don't want to hijack the thread with it.) The irony is that I was cast in the role because only I had the range for it, and then we ended up opting not to use the most glorious part of the role. 
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Baker
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In ours, the Brothers and Jacob doubled as the Egyptian guards. One of the brothers was also Potiphar (he was originally only Potiphar, but one of the brothers dropped out and had to fill in). The Butler and Baker were also brothers... I have seen a production where Jacob and Pharoah were doubled, and it worked very well.
Is the Lively Lad actually commonly used? I thought usually it was changed to the Butler telling Pharoah about Joseph...
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jcstar
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| Beagle On Stage wrote: | | Did you get to do the top C? I had started out doing it in the rehearsal process, but because of the unusual way we staged the "Butler approaches the Pharaoh after the nightmare" sequence, it just didn't fit the scene's style as it usually would, so we had to go with doing it in the written octave. (I'll go into how we staged it and why it meant no star notes if you want, but it's a lengthy explanation and I don't want to hijack the thread with it.) The irony is that I was cast in the role because only I had the range for it, and then we ended up opting not to use the most glorious part of the role. |
I sang it an octive above what was written on the page. So, O would have hit a top C somewhere. This was done full voice, with no mic over two weeks.
I also hit the high note in "Song of the King." There's a note in the score for the tenors and it has "if possible" written over it. I hit it everytime.
We kept the Lad part in because the director was looking for parts to fill, so he decided to give me a solo.
The Lad part has been changed for pro productions. Otherwise, I don't know oif he's used.
Andy.
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Beagle On Stage
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| jcstar wrote: | | I also hit the high note in "Song of the King." There's a note in the score for the tenors and it has "if possible" written over it. I hit it everytime. |
I did that note too. "If possible"....please! 
Actually, that's one of the things I love about the score. It's rare to have roles that get to go up into the ledger lines in practically every song. I did seven top C's each night.
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convict24601
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In our production, our Jacob also played Pharaoh. (The kid in the video I posted.) Our Judah played Potiphar and was a Pharaoh understudy.
Ahh, the top C's. I loved hitting them in rehersal. (Yeah that was when I actually had that note*sigh*) There were no other real tenors in our show so nobody minded. But come the week of the show, we had rehersals every day, even at the theatre. My voice was getting rather tired, and I didn't wanna chance it. And our old narrator was a trained soprano, so she would occasionally throw a top soprano C in there.
High C's are so fun to hit! (When I can start hitting them agian I will for sure.)
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ceresava
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in our production Jacob was doubled with Pharoh and potiphar was a seperate part.
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HortonDoody
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I did the show a few years ago, and we split the roles of jacob and potiphar. it was interesting, and it did give more people parts. but everyone else was cast as a single part. no one doubled except for the apache dancer
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jcstar
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We didn't have the Apache dancer. 
Our score didn't call for it. Our score didn't have the MEGAMIX. That made me mad. Appearently, you can't get the Donny Osmond version of JOSEPH.
Our show just had no pizazz.
Andy.
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Beagle On Stage
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| jcstar wrote: | | Our score didn't call for it. Our score didn't have the MEGAMIX. That made me mad. Appearently, you can't get the Donny Osmond version of JOSEPH. |
My only gripe about the licensed version is that the ending is pretty painful. They don't use the "Megamix," (which I also think is overkill and brings the show down unnecessarily) but they do put in these endless reprises of practically every song in the show. Then, after they've repeated the whole score, they start going for ridiculous alternate lyrics...you just want to die when you hear:
PHARAOH: Joseph, we were the perfect team. We came out trumps in the end.
NARRATOR: It was fun to narrate for you. I hope I can do it again.
My production used "Any Dream Will Do/Give Me My Colored Coat" as the finale and then brought the curtain down. It's what I suggest doing. I've seen a production that used all the reprises, and all it does it take a cute show and tack on 15 minutes to the end which the audience spends looking at their watches.
Of course, everyone knows that I don't like any aspect of the "glitzy" productions. I like to just do the score as written, with a serious set design and halfway accurate costumes.
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jcstar
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Yes, the licsenced version is terrible. It uses the Gary (U.S) Bond versions of the songs, which have the worst orchestrations of any JOSEPH production I know of.
Don't get me started on the reprises.
I prefer the "glitzy" version. Plus, the Megamix is fun.
This is totally off-topic, but, consider this...
JOSEPH was written for children. ALW and TR were just boys when they fiirst wrote it. I always think that the audience is supposed to see Joseph and company through the eyes of the children.
If we are looking through children's eyes, how can a show like JOSEPH be taken remotely seriously or accurate?
Andy.
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Brother Marvin Hinten, S.
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There was an awesome amateur production in my area. They had a Narrator with a killer voice (she's also a co-pastor with her husband at the church I go to), and a Joseph from the 1998-99 tour (?). It was a big success. The point is, they practically put on the Donny Osmond version, plus some of the Gary Bond stuff (no, he's not the same guy as Gary "U.S." Bonds, that's a long story).
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Beagle On Stage
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| jcstar wrote: | This is totally off-topic, but, consider this...
JOSEPH was written for children. ALW and TR were just boys when they fiirst wrote it. I always think that the audience is supposed to see Joseph and company through the eyes of the children.
If we are looking through children's eyes, how can a show like JOSEPH be taken remotely seriously or accurate? |
If the show is supposed to be seen through the eyes of a child, then the glitzy version misses the mark. Children are innocent and simple, not wired with flashing neon lights.
I don't think it should be presented through the eyes of children anyway. At least, not anymore. I think the best way to go now is a (clean) production by adults.
I've said this before, but I'll say it again...too often you end up with a show that turns everything into a gag, and ultimately has no impact (much like the case of "bathtub arks"). The show can be absoluetly breathtaking and emotionally moving if a production can get over the temptation to make it nothing but a big 90-minute joke. And obviously that's something best done by adults. (That said, it's possible to play the Narrator as a Sunday school teacher and work in a few serious and disciplined children to interact with at a FEW key points.)
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jcstar
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Yes, but when children are asked to use their imagination when listening to a story, who knows what they are seeing in their heads?
I take the "glitzy" and "90-minute joke" version to be the child's imagination running away with him/her.
And, considering it's a Bible story, anything can be interpreted differently. I mean, Tim and Andreew looked at Pharroah as Elvis Presley!
I don't think JOSEPH should be taken seriously. Yes, it has the message of forgivness, but why can't you have some mindless fun along the way?
Andy.
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Beagle On Stage
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| jcstar wrote: | | I don't think JOSEPH should be taken seriously. Yes, it has the message of forgivness, but why can't you have some mindless fun along the way? |
Some, yes, but throwing in an Elvis impersonator, all the different types of music, etc., is plenty. There are also LOADS of fun moments in it that aren't necessarily obvious "wink-and-nod" routines, such as the Mrs. Potiphar seduction scene (the only production that I've seen that "glitzed" that sequence up and tried to be tongue-in-cheek with it is the only time I've seen it fail to be funny). There's also stuff you can do with certain characters that adds interest and enjoyment without going over-the-top.
So I don't think the desire to have a little fun with it justifies robbing the show of all its "meat." You don't have to get ridiculous to make it fun.
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