Joseph and the Amazing Technicolor Dreamcoat - YouTube Joseph and the Amazing Technicolor Dreamcoat Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Aug 29, 2014 Joseph and the Amazing Technicolor Dreamcoat is a musical with lyrics by Tim Rice and music by Andrew Lloyd Webber. The story is based on the "coat of many colors" story of Joseph from the Bible's Book of Genesis. This was the first Lloyd Webber and Rice musical to be performed publicly. (Their first musical, The Likes of Us, written in 1965, was not performed until 2005.) The show has little spoken dialogue; it is completely sung-through. Its family-friendly storyline, universal themes and catchy music have resulted in numerous productions of Joseph and the Amazing Technicolor Dreamcoat; according to the Really Useful Group, by 2008 more than 20,000 schools and amateur theatre groups had successfully put on productions.

This video is targeted to blind users. Attribution: Article text available under CC-BY-SA Creative Commons image source in video Category Andrew Lloyd Webber Essay - Webber, Andrew Lloyd - eNotes.com Andrew Lloyd Webber Essay - Webber, Andrew Lloyd Navigate Study Guiderows Andrew Lloyd Webber 1948– Tim Rice 1944– Webber (not shown)—British composer, author, and producer. Rice (pictured at right)—British lyricist, author, and producer. The works of Webber and Rice are musical interpretations of biblical and historical figures and events. They are studies of charismatic young men and women who command great power. Webber's music is a pastiche of such twentieth-century popular styles as vaudeville, rock, calypso, country, and soul, although his works are often structured in classical and operatic forms. Rice's lyrics are important for their authentic presentation of the team's subjects in contemporary language. Webber and Rice began writing pop songs together in 1966, but had little success until their single "Jesus Christ Superstar" became a hit and convinced them to build an entire work around it.

With Jesus Christ Superstar Webber and Rice present the story of Christ's last days on earth in a non-traditional form, the rock opera. The purpose of the drama is to show the reaction to Jesus during His own lifetime. The work was immediately controversial; it is considered radical because it ends with Christ's crucifixion rather than with His resurrection. Another controversy generated by Superstar is the composer's sympathetic portrayal of Judas, through whose eyes the story is told; most critics, however, believe this point of view to be truly innovative. The film version of Superstar is considered as blasphemous as the play. However, many church officials acknowledged it as a favorable means of relating the Bible to young people in a form and language which appeals to them. Prior to Superstar Webber and Rice collaborated on a shorter piece, Joseph and the Amazing Technicolour Dreamcoat, which was first written as a private production for a boys's school and is also based on a biblical story. Some reviewers see it as superficial, but many think it more charming and less pretentious than Superstar.

With Evita, Webber and Rice created a genuine opera about the career of Eva Perón, an opportunist who became the wife of Argentine dictator Juan Perón in the 1950s. Evita shares Superstar's theme of the effects of mass popularity and is told by radical leader Ché Guevara. However, it is generally considered inferior to its predecessor, and many critics have felt it is saved only by its brilliant staging. Rice's lyrics have been criticized for their banality, and both authors have been attacked for their uncertain handling of their subject. Audiences, however, have been receptive to Evita, just as they have to all of Webber and Rice's works. According to John Coldstream, their success is "on a scale matched in this generation by Lennon and McCartney." More Content: Webber, Andrew Lloyd (hide) THEATER - 'Joseph' and a Coat of Many Colors - NYTimes.com THEATER; 'Joseph' and a Coat of Many Colors By ALVIN KLEIN Published: June 14, 1992 EVEN when "Joseph and the Amazing Technicolor Dreamcoat" is over, it isn't over.

If one wishes to be spared the details of a popular musical's journey from a 15-minute cantata commissioned for a prestigious London junior school boys choir in 1968 to a full-length Broadway show in 1982, say simply that, before and after Broadway, there have been lots and lots of versions, in concert, on television, in other schools and on other stages. And it looks as if the first of the Tim Rice-Andrew Lloyd Webber forays into pop opera, earlier than "Jesus Christ Superstar" and "Evita," is still evolving. The winning production at Connecticut's Broadway Theater is fuller in length than ever, for this country anyway, running more than 100 minutes. It is derived from London's newest "Joseph," which has been playing there for more than a year. Once again, the show is reportedly Broadway bound, "as soon as, and not before, the right Joseph" is found, according to a spokeswoman for the Lloyd Webber production company in Manhattan. Jason Donovan has been replaced by Philip Scofield at the Palladium in London and Donny Osmond is being cast for an upcoming production in Toronto.

The Darien staging -- necessarily lacking the bedazzling technology of the London "Joseph," now a multi-million dollar extravaganza -- restores the work to its original concept, "a good story for children," as Mr. Lloyd Webber, the composer, has put it. "It doesn't matter whether you have 15 or 500 children on stage," he said. In Darien there are 15 youngsters on stage; the London production has 50. Before and during the overture, they play at getting ready to be told the "story of a boy who had many dreams." Being his father Jacob's favorite son, Joseph was given a "coat of many, many, many colors." His 11 jealous brothers sell Joseph to traveling strangers. In Egypt, Joseph becomes adviser, in charge of food and dream interpretation, to an Elvis-like but "fairly right wing" pharaoh, and then the reappearing begging brothers are sold into slavery. But don't worry, a happy reconciliation scene awaits. Biblical characters, by turns, sport raincoats, undershorts, sunglasses, berets and Egyptian headgear.

"Joseph" culminates with a satirical theme developed in later Rice-Lloyd Webber works: the transformation of ordinariness into stardom -- with a lucky break. Calypso, country and western and soft rock, with influences encompassing Carl Orff and Jacques Brel, pop up in the Lloyd Webber music, all before overblown pretentiousness sets in. Newly composed orchestral interludes -- rife with references to "Evita," "Cats," and "Song and Dance" -- augment a still catchy, lightheaded score. Most happily, the Darien production is a grand slam for Barry McNabb, the director and choreographer. From a hoedown that could transfuse "Oklahoma!" to tap dancing, do-wop and extended sequences in amusing homage to Jerome Robbins and Bob Fosse (here a bit of "Cool" from "West Side Story," there the gyrating sizzle of "Sweet Charity"), Mr. McNabb's dances and dancers are smashing. And true to the precepts of effective education, the onstage youngsters find their way into the story, changing from riveted spectators to enchanting participants.

Open-hearted and with a soprano that can soar, Valerie Fagan is the Narrator, an androgynous role that was first sung by Cleavon Little in New York, and then by Laurie Beechman. Besides impressive musicianship and phrasing, Marc Heller has the look of an angelic Joseph. The cast -- the brothers, other adults and the youngsters -- are satisfyingly fine. The very appeal of the Darien production is in how it transmits ingenuousness and a lack of slickness altogether compatible with the story's intentions, side by side with a choreographic explosion that epitomizes the best of Broadway. Before "Joseph" plans yet another invasion of New York, with a state-of-the-art pyramid of effects, here is your first, and perhaps last, chance to see it re-energized and pure. "Joseph and the Amazing Technicolor Dreamcoat," Connecticut's Broadway Theater, 65 Tokeneke Road, Darien. 655-7667. Photo: Thomas Ruisinger, left, with Marc Heller in "Joseph and the Amazing Technicolor Dreamcoat" in Darien.

(Jayson Byrd) Joseph and the Amazing Technicolor Dreamcoat Joseph and the Amazing Technicolor Dreamcoat The story of Joseph in Genesis Productions 2007 US Tour Joseph and the Amazing Technicolor Dreamcoat is the second musical theatre show written by the team of Andrew Lloyd Webber and Tim Rice , and their first performed, as its predecessor, The Likes of Us, was not performed until 2005. Based on the " Coat of many colors" story of Joseph from the Bible , this light-hearted show was first presented as a fifteen-minute pop cantata at Colet Court school in London on March 1, 1968 . It was released as a film in 1999 . History Alan Doggett, head of the school’s Music department, for their annual spring concert, commissioned the piece. Doggett conducted the performance, whose orchestra and the singers consisted of pupils of Colet Court, the preparatory school for St Paul's School. Lloyd Webber's father, William, felt the show had the seeds of greatness. He encouraged and arranged for a second performance – at his church, Westminster Central Hall – with a revised and expanded format.

The boys of Colet Court sang at this performance, which also included a rock group. It received positive reviews: London's Sunday Times said it was a new pop oratorio. Novello agreed to publish the work and Decca Records recorded it. By its third performance at St Paul's Cathedral on 9 November 1968, it had been expanded to 35 minutes and included several new songs and David Daltrey (front man of British psychedelic band Tales of Justine) played the role of Joseph. In 1970, Lloyd Webber and Rice used the popularity of their second rock opera, Jesus Christ Superstar , to promote Joseph – which was advertised in America as a "sequel" to Superstar. Riding on Jesus’ coattails proved profitable for this " Technicolor coat" and the US Decca recording topped America's charts for three months. In September 1972, Joseph was presented at the Edinburgh International Festival, directed by Frank Dunlop and starring Gary Bond. A month later the production played at London 's Young Vic and Roundhouse theatres. It was preceded by an act of medieval mystery plays that lead to the "Coat of Many Colours".

On February 17, 1973 , theatre producer Michael White and impresario Robert Stigwood at the Albery Theatre mounted another Edinburgh production. It was accompanied by a piece called Jacob's Journey, with music and lyrics by Lloyd Webber and Rice and a book by television comedy writers Ray Galton and Alan Simpson. Jacob's Journey, which contained a great deal of spoken dialogue, was eventually phased out in favour of the through-sung score of Joseph. The first production of the show in its modern, final form was at the Haymarket Theatre, Leicester. Its American journey to Broadway is almost as storied. The first American production was in May 1970 at the College of the Immaculate Conception in Douglaston, New York. Colleges and amateur groups expressed great interest in the show and there were two professional productions in New York but it was not until 27 January 1982 that it reached Broadway at the Royale Theatre where it ran for 749 performances.

Its family-friendly storyline, universal themes, and catchy music have made Joseph and the Amazing Technicolor Dreamcoat one of the most dependably profitable titles in musical theatre, particularly when producers cast a headlining star – and, according to the Really Useful Group, more than 20,000 schools and amateur theatre groups have successfully put on productions. With Neighbours soap opera star Jason Donovan in the lead, the (expanded) show was restaged in 1991 at the London Palladium with Steven Pimlott as director, winning the 1992 Laurence Olivier Awards for set design and costume design. When Donovan left, former children's TV presenter Phillip Schofield slipped into Joseph's coat. A "far more modest" production starring former Boyzone singer "rather diminutive" Stephen Gateley "with cartoon cut-out sets and props and naff panto choreography" previewed in Oxford in December 2002 before moving to Liverpool over Christmas 2002 and finishing up in the West End at the New London Theatre in March 2003. In 1999, a video version was released with Donny Osmond in the title role.

Osmond had toured North America in the role and in 1992 had recorded a soundtrack CD. Richard Attenborough and Joan Collins also appeared in the video. A revival of the 1991 Palladium production would be the subject of BBC One's second search for a West End star, channel controller Peter Fincham announced". after the success of 2006's BBC / Lloyd Webber Saturday evening prime-time talent show series, How Do You Solve A Problem Like Maria?. That show's viewers had voted for Connie Fisher as a new West End leading musical theatre actor to play the part of Maria von Trapp in Lloyd Webber's London Palladium revival that year of Rodgers and Hammerstein's The Sound of Music, a format adapted for US television as NBC's 2007 series Grease: You're the One that I Want!. Introduced by Graham Norton and with the participation of Lloyd Webber, Doctor Who, Torchwood and musical theatre star John Barrowman, West End and Broadway lead Denise Van Outen and impresario Bill Kenwright, the prime-time Saturday evening series Any Dream Will Do!, sought a new leading man to play Joseph.

More than 3 million viewers cast telephone votes during the 9 June 2007 series final and, said Norton on air, they made 25-year-old West End understudy Lee Mead "officially the people's Joseph". Synopsis Act I The story is based on the Biblical story of Joseph, found in the book of Genesis. It is set in a frame in which a narrator is telling a story to children, encouraging them to dream. She then tells the story of Joseph, another dreamer ("Prologue," "Any Dream Will Do"). In the beginning of the main story Jacob and his 12 sons are introduced ("Jacob and Sons"). Joseph's brothers are jealous of him for his coat, a symbol of their father's preference of him ("Joseph's Coat"). It is clear from Joseph's dreams that he is destined to rule over them ("Joseph's Dreams"). To get rid of him and make the dreams not come true, they sell him as a slave to some passing Ishmaelites ("Poor, Poor Joseph"), who in turn take him to Egypt.

Back home, his brothers, accompanied by their wives, break the news to Jacob that Joseph has been killed; they show his tattered coat smeared with his blood – it is really goat blood – as proof that what they say is true ("One More Angel in Heaven"). In most productions, one brother, Reuben, usually sings the solo; the song often segues into a celebratory hoedown after the bereft Jacob has tottered off the stage. In Egypt, Joseph is the slave of Egyptian millionaire Potiphar. He rises through the ranks of slaves and servants until he is running Potiphar's house. When his master's wife makes advances, Joseph spurns her. Potiphar overhears, barges in, sees the two together – and jumps to conclusions. He jails Joseph ("Potiphar"). Depressed, Joseph sings Close Every Door – but his spirits rise when he helps two prisoners put in his cell. Both are former servants of the Pharaoh and both have had bizarre dreams. Joseph interprets them. One cellmate, the Baker, will be executed, but the other, the Butler, will be returned to service ("Go, Go, Go Joseph").

Act II The Narrator talks about impending changes in Joseph's fortunes ("A Pharaoh Story") because the Pharaoh is having dreams that no-one can interpret. Now freed, the Butler tells Pharaoh (acted in the style of Elvis Presley ) of Joseph and his dreams interpretation skills ("Poor, Poor Pharaoh"). Pharaoh orders Joseph to be brought in and the king tells him his dream involving seven fat cows, seven skinny cows, seven healthy ears of corn, and seven dead ears of corn ("Song of the King"). Joseph interprets the dream as seven plentiful years followed by seven years of famine ("Pharaoh's Dreams Explained"). An astonished Pharaoh puts Joseph in charge of carrying out the preparations needed to endure the impending famine, and Joseph becomes the most powerful man in Egypt, second only to the Pharaoh ("Stone the Crows"). In the 2007 London revival, Pharaoh has a new song (King of my Heart). Back home, the famine had caught up with Joseph's brothers, who, led by the brother Simeon, express regret at selling him and deceiving their father ("Those Canaan Days").

They hear Egypt has food and decide to go there to beg for food and mercy, not realizing whom they will be dealing with ("The Brothers Come to Egypt"). Joseph gives them food and sends them on their way, but plants a golden cup into the sack of his brother Benjamin ("Grovel, Grovel"). When the brothers try to leave, Joseph stops them, asking about the "stolen cup". Each brother empties his sack, and it is revealed that Benjamin has the cup. Joseph then accuses Benjamin of robbery ("Who's the Thief?"). The other brothers, though, beg for mercy for Benjamin, imploring that Joseph take them prisoner and set Benjamin free ("Benjamin Calypso"). Seeing their unselfishness and penitence Joseph reveals himself ("Joseph All the Time") and sends for his father. The two are reunited ("Jacob in Egypt") for a happy conclusion. The show ends with two songs ("Finale: Any Dream Will Do (Reprise)/Give Me My Coloured Coat"), and for curtain call in some big productions, a rock/disco medley of most of the musical's major numbers ("Joseph Megamix"). Commentary The story is completely sung through and there is little spoken dialogue.

The entire show runs under two hours and is occasionally performed without intermission. The show's "book" is "a light sending-up of the Bible story on which it relies", according to Nicholas de Jongh, theatre critic of London 's Evening Standard. In fact, the show makes no mention of God, and does not necessarily come across as religious in nature. Its tone is playful and light, and it features a number of musical pastiches – "Those Canaan Days" is often sung with faux-French accents, "There's One More Angel in Heaven" is cod- Country & Western and, sometimes, Pharaoh performs his "Elvis" routine twice. Musical numbers Overture (not on the recording) Prologue One More Angel in Heaven Potiphar Entr'acte (not on the recording) Pharaoh's Story Song of the King (Seven Fat Cows) Pharaoh's Dreams Explained King of my Heart (2007 London staging only) Those Canaan Days The Brothers Come To Egypt Grovel, Grovel Joseph and the Amazing Technicolor Dreamcoat :: Rodgers & Hammerstein :: Show Details Like this page on facebook.

Joseph and the Amazing Technicolor Dreamcoat Lyrics by Tim Rice | Music by Andrew Lloyd Webber The Biblical saga of Joseph and his coat of many colors comes to vibrant life in this delightful musical parable. Joseph, his father's favorite son, is a boy blessed with prophetic dreams. When he is sold into slavery by his jealous brothers and taken to Egypt, Joseph endures a series of adventures in which his spirit and humanity are continually challenged. He is purchased by Potiphar where thwarting advances from Potiphar's wife lands him in jail. When news of Joseph's gift to interpret dreams reaches the Pharaoh (wryly and riotously depicted as Elvis), Joseph is well on his way to becoming second in command. Eventually his brothers, having suffered greatly, unknowingly find themselves groveling at the feet of the brother they betrayed but no longer recognize. After testing their integrity, Joseph reveals himself leading to a heartfelt reconciliation of the sons of Israel. Set to an engaging cornucopia of musical styles, from country-western and calypso to bubble-gum pop and rock 'n' roll, this Old Testament tale emerges both timely and timeless.

Participate in the R&H Online Community.Leave comments or talk with other fans in the forum! About The Show Merchandise for JOSEPH AND THE AMZAZING TECHNICOLOR DREAM COAT is now available including official T-shirts, Hats, CD's, Songbook's, Tote bags and more! Returns accepted on standard orders. Customized orders are available. To request the rights to make merchandise for this show email brian.sherman@rnh.com . Fan Info: RSS In 1982, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT opened on Broadway at the Royale Theatre, where it ran for 747 performances. The show was nominated for seven Tony Awards, including Best Musical, Book, Direction, Choreography, and Original Score. In 1983, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT closed on Broadway after a run of 747 performances, and seven Tony Award nominations.

In 1948 Andrew Lloyd Webber was born, composer of hit musicals CATS, THE PHANTOM OF THE OPERA, JESUS CHRIST SUPERSTAR, EVITA, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, BY JEEVES, ASPECTS OF LOVE, WHISTLE DOWN THE WIND, and SUNSET BOULEVARD. The birthday of Tim Rice, lyricist and longtime collaborator with Andrew Lloyd Webber on EVITA, JESUS CHRIST SUPERSTAR, and JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT. Rice also contributed lyrics to the Disney films ALADDIN, BEAUTY AND THE BEAST and THE LION KING. "The best kind of feel-good show, unashamed, warm-hearted and irresistable." — John Peter, Sunday Times, January 01, 1991 "The lyrical vitality gives this show its enduring freshness... This is a show that still comes up on top, every time." — Mark Shenton, What's On Stage, January 01, 2003 "Enormously enjoyable. An evening entirely without the snobbery that so often infects theatre.

Real fun." — The Guardian "Still amazing. An evening of real pleasure." — Daily Telegraph, January 01, 2003 "This enchanting musical explodes like glittering fireworks. A brilliant celbration of words, music and colour." — John Peter, January 01, 1991 "A superb piece of entertainment." — Daily Mail Song # Other Versions Andrew Lloyd Webber on : In the summer of 1967, Andrew Lloyd Webber was asked by Alan Doggett, head of the Music Department at Colet court, St Paul's Junior School who taught his younger brother, Julian, to write a 'pop cantata' for the school choir to sing at their Easter end of term concert. Andrew immediately approached his friend Tim Rice to ask if he would write lyrics for the project. After toying with ideas about spies, 007's and the like, Tim suggested the story of Joseph. The first performance of JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT was on a cold winter afternoon on 1st March 1968 at the Old Assembly Hall, Colet Court, Hammersmith.

Accompanied by the School orchestra and conducted by Alan Doggett, the performance was only 20 minutes long. It was such a success that a second performance was arranged on 12th May 1968 at Central Hall, Westminster, where Andrew's father was the organist. Julian Lloyd Webber gave a classical recital in the first half, along with Bill Lloyd Webber. The audience of approximately 2,500 consisted mainly of parents of the Colet Court boys. To Andrew and Tim's surprise, Derek Jewell, Jazz and Pop Critic for The Sunday Times, saw the show and wrote a favourable review of JOSEPH, which appeared on 19th May 1968. A third performance took place on 9th November 1968 at St Paul, where JOSEPH was expanded to include songs such as 'Potiphar' for the first time. After seeing Derek Jewell's review, Tim Rice's then employer Norrie Paramor, who produced Cliff Richard among others, encouraged Decca to release an album of the St Paul's Cathedral version of JOSEPH in January 1969. This received several good reviews, but was unsuccessful commercially.

At the same time as the album's release, Novello & Co. published the original twenty minutes version of the music and lyrics. As a consequence of the obvious need for financial backing to enable them to continue writing, Andrew Lloyd Webber was introduced to Sefton Myers, an entrepreneur keen to develop new talent in showbusiness and whose main activity was property. His partner, David Land, heard the album and immediately offered Tim and Andrew a management contract which would guarantee them support for 3 years in return for a share of their income. This contract allowed Tim and Andrew to continue their work and made it feasible for Tim to leave his employment with Norrie Paramor. The first project under their new contract was a second piece for schools, entitled COME BACK RICHARD, YOUR COUNTRY NEEDS YOU, based on the story of Richard I and his minstrel, Blondel. It was performed with Alan Doggett once again as musical director at the City of London School in November 1969, but Andrew and Tim did not take the project further as they had already discussed another idea, the story of Jesus Christ. Tim Rice remained convinced of his second idea for schools and subsequently developed it into the musical BLONDEL.

Andrew Lloyd Webber and Tim Rice then went on to write JESUS CHRIST SUPERSTAR. It was the success of JESUS CHRIST SUPERSTAR that enabled JOSEPH to continue to grow. The album of JESUS CHRIST SUPERSTAR was a massive success in America and when JOSEPH was released there, with a marketing campaign implying it was the follow-up to SUPERSTAR, the JOSEPH album stayed in the charts for three months. Sadly, before the success of JESUS CHRIST SUPERSTAR had really emerged, Sefton Myers died of cancer. David Land subsequently involved Robert Stigwood in the management contract with Andrew and Tim, which was extended to cover a 10 year period, and a very happy association with David Land on behalf of the Robert Stigwood Organisation followed. In September 1972 Frank Dunlop for the Young Vic directed the Decca album version of JOSEPH starring Gary Bond, at the Edinburgh Festival, where it was preceded by an act of medieval mystery plays that led to the story of the 'Coat of Many Colours'. In October the Edinburgh production played at the Young Vic for two weeks before transferring to the Roundhouse for a six week run.

Michael White and Robert Stigwood subsequently presented the Edinburgh JOSEPH at the Albery Theatre, where it opened on 17th February 1973 and was accompanied by a piece called Jacob's Journey, written by Tim and Andrew with dialogue by Alan Simpson and Ray Galton. This told the story of the early life of Joseph's father, Jacob. Unfortunately, it was decided that the combination of Jacob's Journey, which contained a lot of spoken dialogue, and JOSEPH, entirely sung, did not work and Jacob's Journey was gradually phased out. JOSEPH emerged to receive its first major production in its present form at the Haymarket Theatre, Leicester. The history of JOSEPH in America is not dissimilar. The first amateur production in America was in May 1970 at the College of the Immaculate Conception in Douglastown, New York. There followed huge interest form colleges and schools but, despite various professional productions including two in New York, it was so successful that on 27th January 1982 it moved to the Royale Theatre on Broadway.

Twenty three years on, it is intriguing to note that in the year of the first performance (and three months before Jason Donovan was born), the copyright on JOSEPH was sold by Andrew and Tim to Novello & Co. for 50 guineas each. Novello & Co. was subsequently purchased by Filmtrax, who continue to own the copyrights until 21st April 1989, when the Really Useful Group purchased it for £1 million. Although JOSEPH has been performed by both professional and amateur companies all over the world and by thousands of schools, this is the first professional production to incorporate the children's choir as an integral part of the production. From the Palladium production programme. Laurence Olivier Awards (London) Child sex offences at George Osborne's school | Daily Mail Online comments Allegations: Alan Doggett, choirmaster at Colet Court - the prep school for St Paul's - has been named as six men who allegedly abused boys A choirmaster who helped launch the careers of Andrew Lloyd Webber and Tim Rice has been named as one of six teachers at George Osborne's former school who allegedly abused boys as young as ten over at least two decades.

The staff all worked at the prestigious St Paul's School in London - or its prep school Colet Court - between 1960 and the mid-1980s. Alan Doggett became close to Lloyd Webber and Rice and later conducted recordings of Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar and Evita. But the choirmaster is believed to have been a serial abuser while teaching at Colet Court - even making sex attacks part of his choir's audition process for some boys. He was allowed to quietly resign his post when a string of indecent assaults came to light. Doggett was also an active member of the Paedophile Information Exchange (PIE), an infamous pro-child-sex group who wanted the age of consent lowered to ten. After he left Colet Court he was given a job at the equally prestigious City of London School but threw himself under a train when he was charged with the indecent assault of a ten-year-old boy in 1978. One of Doggett's alleged victims today accused St Paul's and Colet Court of 'hushing up' historic sex offences.

RELATED ARTICLES Share this article Share He said despite teachers being accused of abusing several pupils none of the four separate police investigations were never instigated by the schools. Andrew Lloyd Webber told the Mail in 2012 he and Tim Rice were young struggling composers who 'got a call from Alan Doggett, who had taught Julian, my brother'. Doggett asked them to 'write something for the kids’ end of term concert' and they chose the biblical story of Joseph, which had its first performance at Colet in March 1968. Four months later it was recorded at Abbey Road with the help of Doggett and the Colet boy's choir. Help: Tim Rice and Andrew Lloyd Webber in 1971 - three years after their first performance of Joseph at Colet Court, which later helped catapult them to stardom Abuse: Doggett worked at Colet Court when it was based in Hammersmith, and allegedly touched boys inappropriately, including at choir auditions.

Colet Court moved from here to Barnes for years ago After Doggett's suicide in 1978, The Magpie, the Paedophile Information Exchange's magazine for members, advertised a memorial service for him and said he should be remembered for his ‘friendliness, integrity and loyalty’. PIE's links to several leading members of the Labour party were revealed by the Mail last month, after it emerged the notorious group had extraordinary ties with the National Council for Civil Liberties - now known as Liberty. WHAT THE SIX PRIVATE SCHOOL TEACHERS ARE ACCUSED OF Alan Doggett - choirmaster: Allowed to resign from Colet Court after being accused of abusing boys. Killed himself in 1978 after being charged with child sex offences at another school. Was member of Paedophile Information Exchange. 'Alex Alexander' - housemaster: Accused of beating boys for sexual pleasure. Police never involved and believed to be dead. Patrick Marshall - rowing master: Arrested last month over alleged abuse of 15-year-old boy in late 1970s. He denies the allegations and has been bailed. Rev Paul Topham: Accused of abusing boys but police inquiry in 2000 led to no prosecution.

He denied all allegations and died in 2012. Unnamed teacher: Allowed to leave school for 'family reasons' after violent porn found in room and register of boys he had beaten was discovered. Unnamed teacher: Arrested in 2000 for abuse in late 1980s. No further action after CPS said there was a lack of evidence. Today the St Paul's High Master Professor Mark Bailey backed calls for a new police investigation and said: 'All such allegations must be properly and fully investigated' and 'subjected to the proper processes of justice'. An investigation by The Times has today shed light on historic abuse involving five other staff who may have assaulted dozens of boys at St Paul's or Colet Court over 20 years. St Paul's and Colet Court are considered among Britain's most prestigious schools. Chancellor George Osborne and Attorney General Dominic Grieve QC were there at the time of the alleged abuse but there is no suggestion either were victims. Luke Redmond said from the age of 12 he was attacked by three teachers who touched him inappropriately or beat him for sexual pleasure. He is now 59 and married with children and says he needed to speak out about his ordeal at school for 'closure'.

The allegations made by him and others involve Alan Doggett and five other staff, The Times' Chief Investigative Reporter, Andrew Norfolk has said. The most recent claims were made about Patrick Marshall, a geography and rowing tutor at St Paul's, who was arrested in February over the alleged abuse of a 15-year-old boy in 1979 and 1980. He was bailed and denies the allegations. Former Colet Court teacher Paul Topham, was accused of groping at least one child in his bed and forcing others to swim naked while he would touch them. He went on to become an Anglican priest, but a 2000 police inquiry into sexual abuse allegations never led to a prosecution and he denied all the allegations. He died in 2012 aged 80. Another teacher at Colet, known as 'Alex' Alexander, would allegedly beat boys in his office with their trousers down and and then sit them on his knee 'until his face went very red', one boy said. He is presumed dead.

The fifth teacher - another unnamed member of staff - was caught with a stash of sado-masochistic pornography in his office and a register of boys he liked to spank. He was allowed to leave for 'family reasons', The Times said today. Statement: St Paul's and its prep school said today it would help the police with any investigation into historic child abuse there The sixth and final teacher, also unnamed, was investigated by police and arrested in 2000 after allegations of historic abuse in the late 1980s were made. But the Crown Prosecution Service decided there was insufficient evidence. In a statement St Paul's said: 'The allegations do not relate to any pupils or staff currently at the Schools. 'Any sexual abuse of children by an adult—and particularly a teacher—is abhorrent, a serious violation of trust, and an affront to the values of any caring community. 'Suspects should be investigated and subjected to the proper processes of justice'.

HOW LLOYD WEBBER AND RICE CREATED ONE OF THEIR MOST FAMOUS MUSICALS THANKS TO CHOIRMASTER ACCUSED OF ABUSING SCHOOLBOYS Alan Doggett killed himself after he was arrested and charged with child sex offences in 1978. But Andrew Lloyd Webber and Tim Rice never forgot what the choirmaster did for their careers and also refused to accept he was guilty of abusing children. Doggett had got to know the composers through Lloyd Webber's cellist brother Julian , who he taught at a Westminster Under School - a prestigious prep school. After meeting Andrew, the Colet Court teacher invited the young writers to write a 'pop cantata' for an end of term concert. Rice, then 22, and Lloyd Webber, 19, admitted they were forced to 'swallow their pride' in 1967 and agree, but the decision would change their lives. Sir Andrew wrote in 2012: 'Frankly no one was much taken with our offerings but one day I got a call from Alan Doggett, head of music at Colet Court, St Paul’s junior school, who had taught Julian, my brother.

'Would I write something for the kids’ end of term concert? It had to involve all the school and be a story everyone knew. I called Tim. 'The first public performance of anything we had written would be on a Friday afternoon to an audience of bored parents, but after swallowing our pride, we agreed. 'At first we toyed with a James Bond story but decided that 007 might be a passing fad, so we thought about a bible tale. 'I had an excellent picture book called The Wonder Book Of Bible Stories. We chose the story of Joseph and his coat of many colours. It’s always easier to get stories for musicals from a picture book'. By the summer of 1968 Joseph was being recorded at Abbey Road with the help of Doggett and the Colet Court boy's choir. The following year allegations about sex offences led to the teacher's removal from St Paul's, but within a year he was back in a job elsewhere and teaching music to other boys. Doggett worked with Rice and Lloyd Webber until 1976, and was 'musical co-ordinator' for an Evita album. He also was conductor on a recording of Jesus Christ Superstar.

But in 1978 he jumped in front of a train and left a note confirming it was 'best' to go 'the way of the Greek'. He was accused of abusing a boy, ten. Soon afterwards, in a joint statement, Lloyd Webber and Rice said: 'Alan was a music and singing teacher of extraordinary talent. We have lost a gifted colleague and a dear friend.' In Tim Rice's 1999 autobiograohy he said: 'I cannot believe that Alan was truly a danger, or even a minor menace, to the many boys he worked with'. Lloyd Webber was said to have told friends: 'Doggett would never have been guilty of taking advantage of any young person in his charge'. Coat of many colours set to dazzle | Western Advocate Coat of many colours set to dazzle SANDRA PARKER 28 Apr 2011, 6:17 a.m. THE curtain goes up tonight on the Carillon Theatrical Society’s production of Joseph and the Amazing Technicolor Dreamcoat at the Bathurst Memorial Entertainment Centre.

Coat of many colours set to dazzle OPENING NIGHT: Carillon Theatrical Society musical director Roland Auguszczak preparing for the opening night of Joseph and the Amazing Technicolor Dreamcoat tonight. Photo: PHILL MURRAY 042711pjoseph ╳ exit THE curtain goes up tonight on the Carillon Theatrical Society’s production of Joseph and the Amazing Technicolor Dreamcoat at the Bathurst Memorial Entertainment Centre. The story is based on the “coat of many colours” story of Joseph from the Hebrew Bible’s Book of Genesis. It was the first Andrew Lloyd Webber and Tim Rice musical to be performed publicly. The role of Joseph in the CTS production is being played by Marty Ryan, who continues the acting tradition started by his father, Bill, while the narrator is Kathy Powell. “They are supported by a cast which includes 30 primary school-aged children,” musical director Roland Auguszczak said. “The show is being directed and produced by Ben Hope and Cynthia McNeil. “For each song in the show, Andrew Lloyd Webber used a popular style of the day, such as calypso, rock ‘n’ roll and an Elvis Presley imitation.

“The cast and orchestra have been rehearsing since the beginning of February.” Mr Auguszczak said 2011 marks the 50th anniversary of the change of name of the society to the Carillon Theatrical Society. There are two members of the society who have been actively involved since 1961 – Mr Auguszczak and Carole Eastment. “Carole was a dancer at the time and also a lead in shows such as Hello Dolly and Annie Get Your Gun,” Mr Auguszczak said. The show will be staged again tomorrow, at 2pm and 7.30pm, then on Sunday at 6pm and at 7.30pm next Tuesday and Wednesday. Tickets are selling well, and are available from the BMEC box office. Joseph and the Amazing Technicolor Dreamcoat | Donny Osmond's Introduction to the Program | Great Performances | PBS Donny Osmond’s Introduction to the Program April 5, 2000 Comments England would be unthinkable without her rich tradition of church music. For generations, the soaring sounds of a boys choir have practically defined what it means to be British.

But over the past 30 years, the world’s ideas of English music has undergone a startling change. What began as the rock-influenced melodies of a long-haired, upstart composer is today England’s best-known international export. Good evening. I’m Donny Osmond, and tonight public television is bringing you an evening of music by Andrew Lloyd Webber, the most commercially successful composer of our time. So, why are we in St. Thomas Church in New York City and not a few blocks away on more familiar territority, Broadway? Because Mammon is only part of the story: God has played a starring role as well. For Lord Lloyd-Webber of Sydmonton, the distance from the stage to the sacristy is a lot shorter than you might think. He’s found inspiration for two of his most famous shows in the Bible, and themes of faith and redemption run throughout his works. Later on this evening, we will return here for Lloyd Webber’s most explicitly liturgical piece: The Requiem Mass he wrote in tribute to his father, also a composer and a renowned London chruch organist.

But the Andrew Lloyd Webber the public knows best is [on Broadway], where the composer of “Cats” and “The Phantom of the Opera” continues to dominate the musical. No one’s ever had three shows running simultaneously on Broadway and in London’s West End before, but Andrew’s done it several times. In fact, somewhere in the world, there’s probably a performance of an Andrew Lloyd Webber show going on right now. The path that took Andrew from the streets of swinging London in the 1960s to his manor house began with a single song. In 1969, Andrew and his lyricist, Tim Rice, burst onto the scene with a hit song that became a best selling album, which became a sensational show that, 30 years later, is returning here to Broadway in a new production opening this month. That song was “Jesus Christ Superstar” — and here, in a nutshell, are the main themes of Webber’s career: religion and the counterculture, the individual against society, sin and redemption — set to some of the most humable tunes ever written.

But even before “Superstar” made Andrew and Tim household words, there was “Joseph.” For many of us, our school auditorium is where we first saw — and maybe even were in — our first musical. It was in a place much like this that, in 1968, Andrew and Tim launched their career with a short musical for children called “Joseph and the Amazing Technicolor Dreamcoat.” It’s all there in Chapter 39 of Genesis: how Joseph, the favorite of Jacob’s twelve sons, is sold by his brothers into slavery in Egypt and rises to become the Pharaoh’s right-hand man. He saves the empire from a deadly drought and rescues his family as well. It’s hard to believe now, but back then “Joesph” was only 15 minutes long, performed before an audience of school children and their parents at a London prep school called Colet Court. But the kids loved it, and the critics cheered. Since then, Andrew and Tim have added new characters and songs. “Joesph” has not only become one of their most beloved shows, but also a big part of my life. In fact, it still is.

So, get ready for a Bible story you can tap your toes to. Go, go, go Joseph! Well, “Joesph” and his brethren have certainly come a long way. And so have the careers of Andrew Lloyd Webber and Tim Rice. But to really understand the show — and the men who wrote it — let’s go back three decades and across the Atlantic. The ’60s were not only a time of radical change in morals, but in fashion and music as well. And the revolution’s epicenter was London. It was a “youthquake” of political liberation, sexual freedom, and social experimentation. Shorn of Empire, Great Britain became “Little England” — the hippest, most swinging place on earth. From the boutiques of Carnaby Street to the rock clubs of Liverpool, a new kind of British culture emerged, led by groups like the Beatles. England may have lost her Empire — but she had conquered the world. But there was a spiritual side to Flower Power, too. Amidst the unabashed hedonism of the age, young people were searching for meaning. Some found it in protest . . . Others sought it in psychedelic drugs . . . Still others found it in God.

It might not have been religion as their parents understood it, but it was all part of doing your own thing. And no single work of the 1960s brought youth culture and the New Testament together more controversially than Andrew Lloyd Webber and Tim Rice’s “Jesus Christ Superstar.” Putting on a Broadway show is a complicated undertaking, requiring the talents of hundreds of people. But the genesis of “Jesus Christ Superstar” was actually very simple. First it was a hit single that swept Europe in 1969. Then it was a best-selling double album, hopping across the Atlantic and topping the charts in America. Finally, it landed here, on Broadway, where it quickly became one of the most controversial shows in the long history of the Great White Way. Has there ever been a Broadway show with this kind of cultural impact? “Show Boat” in 1927 and “Oklahoma” in 1943 helped define the modern musical. But the impact of “Jesus Christ Superstar” was felt far beyond 42nd Street. Whether it was hit or miss on stage ultimately didn’t matter, for by 1971 it was already an icon.

Every 20 years or so, it seems that pop culture flings a challenge at American society, forcing us to re-examine our values, our standards — and ourselves. John Lennon as Jesus? That would have been something. Still, stories about Jesus were in the air. The Greek author Nikos Kazantzakis had published his revisionist novel THE LAST TEMPTATION OF CHRIST just 14 years earlier, and the avant-garde Italian film director Pier Paolo Pasolini had released THE GOSPEL ACCORDING TO ST. MATTHEW five years before. Why not a “rock opera” about the life of Jesus Christ? Somehow, “Jesus Christ Superstar” not only survived, it flourished: in London, where Jim Sharman’s version ran for eight years and broke the record as the longest-running musical in British history. in Tokyo, where the acclaimed Shiki production turned Christ’s road to Golgotha into a riveting Kabuki drama. It even made it to the big screen in 1973, directed by Norman Jewison.

“Superstar” became the foundation of the Lloyd Webber fortune, enabling him to buy his 16th-century manor house, Sydmonton Court, with its sweeping bucolic vistas of the famous Watership Down. There, he turned the estate’s private chapel into a small theater, where all of Lloyd Webber’s musicals are workshopped before heading to his own personal chain of more than 20 London theaters, including the venerable Palace. Mary Magdalene, trying to figure out whether she loves Jesus as God — or man. Judas played not as a villain, but as a confused and frightened disciple. Sacred or sacrilegious? Even today, the interpretation is in the eye — and the ear — of the beholder. This concept of creating a hit song or album prior to the show proved to be a formula that suited the team of Rice and Lloyd Webber well. For their next show, Andrew and Tim chose a subject that, at first glance, doesn’t seem very religious at all: the life of Eva Peron, wife of the Argentine dictator. But look more closely: worshipped by millions, the latter-day “Santa Evita” turned out to be a fickle, false goddess.

But oh what a circus! What a show!How did Andrew come by his choice of profession? And where does he get his inspiration? For the answers, we have to go back to his boyhood in London’s South Kensington. Andrew’s father, William Lloyd Webber, was a well-known figure on the British music scene. During his varied career, he was the organist at two important London churches — All Saints, Margaret Street, and Central Hall, Westminster — a professor of composition and harmony at the Royal College of Music, and the director of the London College of Music. He was also a classical composer, and it was a source of lifelong frustration for him that his music was not more widely performed. Andrew was born in 1947, the elder of the two sons of Bill and Jean Lloyd Webber. It was a happily, noisily musical household. While Andrew was staging imaginary musicals in a toy theater, his brother Julian would be sawing away on the cello. Another member of the Lloyd Webber managerie was John Lill, who was practically adopted by Andrew’s parents, and who grew up to be one of the finest British pianists of his generation.

Andrew Lloyd Webber continues to explore religious and liturgical themes — sometimes in surprising ways. In “Cats,” the tattered prostitute Grizabella — the feline Mary Magdalene — is chosen by Old Deuteronomy to ascend to heaven — the “Heaviside Layer.” A levitating car tire — now that’s getting into Heaven the hard way! After nearly 20 years, “Cats” is finally heading towards the end of its Broadway run after shattering every box office record. But its “Memory” lingers on. Even the “Phantom of the Opera” gets into the act, composing his operatic masterpiece at a mighty organ and hoping the beautiful Christine Dae will save him from his subterranean misery — both as a musician and as a man. Even today in his later works, the theme of faith — or lack of it — is never very far beneath the surface. “Whistle Down the Wind” is the story of a mysterious stranger — an escaped convict — who is mistaken for none other than Jesus Christ by a group of innocent school children.

Lloyd Webber and his librettists transposed the action of the 1961 film starring Hayley Mills and Oliver Reed from rural England to Bible-belt Louisiana. For a secular work, the song titles themselves tell the real story: “The Vaults of Heaven,” “I Never Get What I Pray For,” “The Vow,” “Long Overdue for a Miracle,” “Wrestle with the Devil.” Sin, death, and redemption loom large in the show, both as text and subtext. What is it about this subject that resonates with Lloyd Webber? Why, in show after show, has he chosen material that deals, in one way or another, with religion? In his new work, he is adapting the novel BEAUTIFUL GAME, which deals with the Troubles between Catholics and Protestants in Northern Ireland. In 1985 — right here in St. Thomas Episcopal Church — Andrew Lloyd Webber finally gave full voice to his lifelong interest in religious themes. The work was the “Requiem,” a complete setting for soloists, chorus, and orchestra of the ancient liturgy that has long fascinated opera composers.

Mozart wrote a Requiem Mass, so did Giuseppe Verdi. From the thundering “Dies Irae” — the Day of Wrath — to the joyful “Hosannah,” the “Requiem” affords composers a chance to shine. Andrew made the most of the “Requiem” — right down to composing a hit tune, “Pie Jesu.” The score won the Grammy Award for the best classical album that year, and director Stephen Frears filmed “Pie Jesu” as a tribute to the young victims of war everywhere. I’m in St. Thomas Episcopal Church in New York City. It was here, in 1985, that Andrew Lloyd Webber premiered his only major departure from the Broadway stage, the “Requiem.” Inspired both by the ongoing strife in Northern Ireland and by the atrocities of the Khmer Rouge in Cambodia, the “Requiem” was also a tribute to Andrew’s father. That first performance was conducted by Lorin Maazel and starred tenor Plácido Domingo, a boy soprano named Paul Miles-Kingston, and a young coloratura called Sarah Brightman — at the time, the new Mrs. Andrew Lloyd Webber.

Andrew would go on to write another important piece for her, “The Phantom of the Opera,” before their divorce in 1990. All the sounds Andrew heard as a child resonate throughout the “Requiem”: his father’s church music, as well as the sacred choral works of Handel, Holst, Elgar, and Benjamin Britten. Following the example of Brahms and Fauré, Lloyd Webber omits violins from the orchestration, creating a striking contrast between the darkness of the orchestra and the bright, light voices of the tenor and the two sopranos. It is at once Lloyd Webber’s most personal work — and his most English. We can still hear the echoes of the “Requiem” today. Its most famous number, the haunting “Pie Jesu,” was recently recorded by Charlotte Church. Once again, Andrew Lloyd Webber has a hit. Based on the Roman Catholic Mass for the dead, a requiem is constructed in clearly defined, self-contained sections. Each movement is named after a liturgical prayer, and is sung mostly in Latin.

Charting mankind’s journey from the death of the body to the eternal life of the soul, a requiem emotionally invokes the terror of the Last Judgment, the sorrow of our separation from God through sin, and, finally, the bliss of eternal peace. It’s easy to see why so many composers, whether personally religious or not, have been attracted to the form: in its stirring dramatic progression, a requiem is really an unstaged opera, in which the central character is all of us. Andrew Lloyd Webber’s “Requiem” follows the classical model of Mozart and Verdi. Massed choruses are complemented by moments of exquisite tenderness for the soloists. Its movements include a frightening “Dies Irae,” a spirited “Hostias,” a jubilant “Hosannah” — which brings a little bit of Broadway to the altar — and a gorgeous “Lux Aeterna” as the soul is bathed in God’s eternal, perpetual light. The “Requiem” is Lloyd Webber’s most ambitious work, and his most heartfelt.

Question: According to the Bible (and Andrew Lloyd Webber and Tim Rice), who had a coat with many colours?
Answer: Joseph