When a fully sung-through show is so reliant on dance and movement, it isn’t always easy to detect the difference between the contribution of the director and the choreographer. Here it seems a partnership between director Wendy Brodsky and choreographer Carla Della Torre brings a new and bright approach to this show that has become a standard. Della Torre probably gets the lion’s share of the credit for the pure dance side of the effort such as the use of the line of Joseph’s Brothers as a Bob Fosse troupe or turning the break of "One More Angel in Heaven" into a Susan Stromanish Oklahoma! hoedown. Brodsky is probably principally responsible for touches like the fluid motion of passing treasure bags to the center that gives such a feeling of motion to an otherwise static scene at the end. But who gets credit for the kids writhing in disturbed sleep on the backs of their kneeling colleagues for "Joseph’s Dreams?" Touches like this one are usually the work of a strong collaboration.

While the focus is always on the performers (which is appropriate because this is the production of a musical theater training center for youth) it also demonstrates Andrew Lloyd Webber’s command of a wide range of musical styles and Tim Rice’s marvelously flippant lyrics. This show, which began as a short skit for school kids and has grown into a full fledged "biblical cantata" is one great song after another. It ranges from classic rock-n-roll (the Pharaoh-as-Elvis "Song of the King") to French chanson ("Those Canaan Days") and from joyous calypso ("Benjamin’s Calypso) to sentimental ballad ("Any Dream Will Do") with strong, memorable melodies for each. Rice demonstrates again his unique ability to blend modern idioms to other time periods with a winking humor that beguiles the audience into not only accepting but appreciating the anachronisms.

Many of the parts are played by different kids on different nights, but some of the bigger roles are held throughout the run. Shannon Michael Algeo is a solid Joseph while George DeGennaro tries his darndest to emote through a full beard as his father Jacob, Bernadette Anne Tyra does a fine seduction dance as Mrs. Potiphar and Max Spitulnik brings down the house with his Elvis/Pharaoh. At times it is hard to take your eyes off some of the kids in the chorus or in some of the smaller roles to focus on the soloists, however, because of their level of enthusiasm and energy. Most are simply listed as members of the chorus and, so, we can’t mention them by name. But the night we attended a youngster named Daniel Bush was playing Judah with just the type of panache that will serve him well in larger roles in the future.

These kids put on quite a show! From biggest staring part to smallest chorus assignment, the self assurance and stage presence impress and the sweet story with its lovely score is given a satisfying presentation. Although the children have a wide range of talents and are at different points in their training, director Daniel L. McDonald lets everyone display their developing craft with well thought out details. Unlike so many amateur productions, no single performer ever seemed at a loss as to what he or she was supposed to be contributing to a scene.

McDonald added a rap opening to provide another large chorus number with its opportunity for more students to display more skills. It was delivered on a black and white set with black and white costumes so that the burst of color when the scene shifted to the fairy tale world was all the more effective. With specialty steps for soloists and chorus, it was quickly apparent that these kids have trained for their moments in the spotlight. McDonald also converted the "Stepsisters’ Lament" from a duet to a full production number which strengthened it musically and gave more kids more time in the spotlight. Good move! It was also fun to see "Boys and Girls Like You and Me," which was written for Oklahoma! used in this show as a number for the King and Queen.

The Musical Theater Center is so large an operation that totally different casts perform on the two weekends. Among those performing the first weekend were a number of standouts including a self-assured singer Annie Stokes as Cinderella, Robert Magin whose comic flair made the King a kick, and Rachel Lipman as Stepsister Joy whose stage presence was impressive. Sixteen year old Kennedy Kanagawa, a young man with professional credits both here and in New York, brought a unique strength to the part of the Prince -- his phrasing. While everyone in the cast seemed to know the meaning and purpose of every word and note of every song they sang, Kanagawa was able to communicate the meaning of every phrase. Given that his songs had the lovely melodies of Richard Rodgers carrying the wonderfully precise lyrics of Oscar Hammerstein II, that is a skill to be treasured.