The theatrical landscape is often criticised for limited female representation, and yet, here I am writing about Kevin Oliver’s spectacular production of ‘Joseph and the Amazing Technicolour Dreamcoat’ with a cast of 100 men and just one woman. We’ll circle back to this later, but to give Kevin his due, he previously directed a 1000-strong all-girls choir’s performance of AR Rahman’s ‘Vande Mataram’ in Dubai. The maestro himself was impressed by the ‘amazing tribute’. When I asked him why an all-male ensemble for the production, he replied with customary flair, “I just wanted a twist to the original mixed productions and my own spin…I love being an Original.” Beyond his career in music, choreography and theatre first in Bengaluru and later in Dubai, Kevin has built an impressive career in fashion and entertainment, working with luxury brands like Valentino, Dolce & Gabbana, and Louis Vuitton, and styling international stars including Hugh Jackman, Rihanna, and Lady Gaga. His confidence in reimagining well-known musicals stems from his unique combination of skills – he handles every aspect of production personally, from lighting and props to costumes, makeup, sound design, choreography, and music composition.
Kevin originally staged Andrew Lloyd Webber’s musical 30 years ago as a music teacher at Frank Anthony Public School. He returned with what he calls “Broadway Reimagined” – a production that challenges every convention of the classic musical. What made this production stand out was its bold artistic choices: apart from the 100-strong allmale choir and brilliant choreography (my favourite was the king who channelled Elvis), impressive sound and light, it featured breathtaking fashion. While the gown worn by Potiphar’s wife had the women in the audience drooling, the centrepiece of Kevin’s vision was undoubtedly the dreamcoat itself, designed by renowned fashion designers Michael Cinco and Furne One Amato. Weighing over 21 kilograms and adorned with Swarovski crystals across various fabrics, Kevin described it as “like a chandelier on a guy’s back.” This fashion-forward musical theatre may well be a first, unprecedented even on Broadway or the West End.
The collaboration between the director and producer Oum Pradutt of Phase 1 is a beautiful full-circle moment. Oum was Kevin’s student at Frank Anthony’s, where his mother enrolled him and his brother despite the financial burden. Oum credits his journey from teenage performer to successful producer to his mother’s determination and vision. The school opened up opportunities for him to perform in several musicals directed by Kevin, including the original Joseph production. These foundational experiences would later inspire him to start his event production company Phase 1, and its reputation for high production standards and theatrical storytelling in corporate events (including several big-ticket book launches and festivals for my company) directly stems from those early lessons. When Kevin approached Oum about reviving Joseph, the producer didn’t hesitate. The decision came with significant personal investment – costing “an arm and a leg”, he admitted, but he saw it as a 30th anniversary gift to the city that shaped both their careers.
The casting process validated their faith in Bengaluru’s talent pool. Despite Kevin’s initial uncertainty, 450 people attended auditions. The final cast represented voices from bass to countertenor, performers aged 16 to 60, including international talent. With three shows selling out, a special matinee had to be added to meet the demand. Drawing from his transformative experience as a young performer, Oum ensured school children could attend the shows through discounted tickets. With its combination of international fashion, innovative staging, and homegrown talent, this production of Joseph and the Amazing Technicolour Dreamcoat is a statement about Bengaluru’s cultural ambitions.
Kevin and Oum have created something that honours the past while boldly reimagining the future. They hope to stage more musicals in Bengaluru and also a larger-scale musical in Mumbai that Kevin has written himself. Circling back to the Female Gaze, which is what this column is about, Kevin’s decision to use an all-male cast, replace the traditional single female narrator with nine male narrators, and feature Potiphar’s wife as the sole female presence generated an unexpected dynamic. It was a powerful theatrical metaphor that many women will recognise: being the only woman in the room, yet commanding attention through sheer presence and talent. The story goes that after she failed to seduce him, Potiphar’s wife accused the slave Joseph of attempted rape. This sounds like the all-too-familiar trope about a woman scorned.
But it’s not all black and white. Joseph did not turn her down because he was not attracted to her, but because he viewed her as the property of Potiphar, the captain of the Pharaoh’s guard. She is not even given a name in the biblical account in Genesis, and even the Quran simply calls her “the wife of the Aziz” (Potiphar). When she tried to establish agency over her body, she was portrayed as a vengeful seductress. Had the tables been turned, is there any doubt that her husband would have succeeded in seducing a slave, or that he would not have been vilified for it? To echo a character from one of my current favourite TV shows, Office Lucy Chen in “The Rookie”, using the woman scorned line is “Way to trivialise a woman’s anger.” or in this case, her genuine frustration and helplessness.
Sandhya Mendonca, author, biographer, and publisher at Raintree Media, offers a distinct female gaze of the world in this column.
