Big production matches big dreams
'Joseph and the Amazing Technicolor Dreamcoat' helps Concordia University mark 25th anniversary

By MICHAEL RYDZYNSKI (Irvine World News - ~April, 2001) Photo at right: Joseph (Nick Hanson, center) daydreams as he is attacked by his brothers in the Concordia University production of "Joseph and the Amazing Technicolor Dreamcoat."

Miguel Vasconcellos/Irvine World News

For Michael Shackelford, everything about "Joseph and the Amazing Technicolor Dreamcoat" is big, big, big.

"It's big," said Shackelford, who will direct "Joseph" when it opens April 20 for a two-weekend, four-performance run at Concordia University's Nelson Amphitheater.

"I knew it would be big to begin with. But everything about the show is bigger than I first envisioned. And it keeps getting bigger.

"My biggest challenge so far is to get in enough rehearsals in good weather in that amphitheater without making the cast sick."

Another challenge for Shackelford, who is directing for the first time outdoors, is how to keep the production from becoming too unwieldy in an amphitheater.

"Set design, lighting and costuming are the only aspects that can be controlled," he said. "We're so limited as far as sound, fly space and wing space are concerned. Also, there's no orchestra pit, no drop curtain, no acoustics. We have to be very creative how to overcome these problems."

Such as where to put the "pit" orchestra.

"We have to make sure the orchestra can be heard, without drowning the cast out," he said.

This production is among the biggest Concordia has assembled in its 25 years: a cast of 27 and a crew of 47 ú 23 for costumes alone.

"I've been very blessed with a terrific ensemble and crew that have really worked hard," he said.

"Joseph," the first collaboration between Andrew Lloyd Webber and Tim Rice ("Evita"), uses modern dialogue and music combining elements of rock, country and theatrical styles to tell the Biblical story of Joseph being sold into slavery and winning the confidence of his master to gain his freedom.

"After brainstorming for a show that would be appropriate to help celebrate Concordia's 25th anniversary, (theater chair) Dr. Peter Senkbeil and I decided this would be the show to go with," Shackelford said.

The April 21 performance will officially end Concordia's year-long celebration with a special reception to follow.

"I am very deeply honored that I was asked by Peter and by the university to direct their 25th-anniversary musical," said Shackelford.

An adjunct professor, Shackelford has received a Silver Alumni Award for his achievements in a long association with Concordia that covers more than a decade as a student and part-time instructor.

Now finishing up his doctorate work in education, specializing in academic leadership, at Concordia, Shackelford, a kindergarten teacher in the Tustin Unified School District where he was a Teacher of the Year in 2000, approaches "Joseph" from a child's point of view.

This was agreed upon after another brainstorming session ú this one between Shackelford and his two main collaborators on the production, choreographer Melanie Jacobson and music director Rob Blaney (see accompanying story).

"We asked: 'What twists can we take with the story without destroying its integrity?'" Shackelford recalled. "Well, what do I really know best? I'm a teacher, so I know kids.

"So we've added a framework that doesn't exist in the script: A group of schoolchildren retell their favorite story from the Bible, a familiar story. I set up this premise, writing about 15 lines of dialogue, to give a slightly different interpretation.

"This also justifies why certain aspects of the story might seem childish or exaggerated - as a child might view it. I've lightened up some things. In certain areas I've tried to have more childlike fun. This gives score and script new life and new excitement, something that's more entertaining and less philosophical."

For example, Joseph being sold into slavery is not looked on as a tragedy but as something to make fun of because a child would not be able to fully comprehend the meaning of slavery.

"So we've taken certain liberties by poking fun at or lightening up portions without destroying the integrity of the script and lessening the Biblical theology," he said.

Shackelford was not exactly a kid but was not far removed from being one when he appeared in his first musical almost 20 years ago at a Fullerton College theater workshop for high school students.

The musical? "Joseph," appropriately enough. He played one of the brothers.

"Some elements from that production I carried with me after all these years into this production," he said. "For the rest, it's all new, all now."

"Joseph" is Shackelford's second production at Concordia this season ,following the Pulitzer Prize-winning "Wit" last fall, and his fifth overall, dating back to 1990, when, as an undergraduate, he directed "A Midsummer Night's Dream" and "Little Shop of Horrors." He also directed "Ten Nights in a Barroom" for Concordia.

On "Joseph," Shackelford is reunited with Blaney, his musical director for "Little Shop."

"He's extremely talented and has a list of credits as long as my arm," Shackelford said. "He's able to take a fresh look at a score everybody knows."

"We went to Concordia together and then our paths diverged. I went into the country field and he into musical theater. So I'm excited to work with him again."

As he is with Jacobson, the choreographer on "Pippin," which co-starred Shackelford.

"Each number requires different styles and she's been able to capture moves of those styles without being purely stylistic," he said, adding: "I asked her if she'd like to come back to Concordia and be my choreographer for this show."

So even though the demands can become pretty hectic, Shackelford is relishing it all.

"What with dealing with 50 18-year-olds," he said, "and the outdoor elements and holding down my day job and working on my doctoral dissertation - and being a perfectionist and very demanding of my performers and having high expectations of them, it gets overwhelming at times.

"I sometimes ask Peter (Senkbeil), 'Is it too late to get out of this?' But the students have been wonderful and the faculty and staff extremely supportive.

"I may be busy balancing a lot," he said, "but I wouldn't change it for the world."


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