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Holding Out For a West End HeroDateline: 26th January, 2009Once upon a time, a young man won a television competition to become the lead in a west end production: eighteen months later, he left. In theatre-land, reviews of last nights are less newsworthy than openings. But something of note - and really quite amazing - happened on 10th January, as Lee Mead performed his final Joseph. Events began late morning, with frenzied Maiden Lane brought to a standstill by a mélange of intrigued passers-by and an adoring public (mainly female, all ages), many of whom braved hours of near-zero temperatures to welcome Mead one last time, enveloping him like bees around honey, forcing him to sit a while on the bonnet of a taxi (one of several, arterially clogging the street, their withering 'beeps' ignored) as he made slow progress to the stage door. As fellow cast members waved from dressing-room windows, a tumbling into the street to the strains of Irene Cara's Fame would not have seemed amiss, had there been room amongst the heaving mass. The evening was an event, sold-out months before, and a standing ovation - impossible to capture in print - can be viewed on the official Joseph website: suffice to say, its like and duration were unknown even to musical theatre stalwarts who had witnessed other departing leads and for whom this was 'something else'. Before the final reprise of 'Close Every Door', Stephen Tate (Jacob), touched Mead's cheek and embraced him in a sign of sincere affection between theatrical 'father and son' that extended to an emotional cast whose tear-stained faces spoke of sadness, yet pride, at just being part of it all; there was a lump in many a throat. And Lord Lloyd Webber took to the stage, reminding us that we had voted for, and got, a professional - a joy to work with, and very possibly, the greatest Joseph ever. Speeches, hugs, and the final curtain is drawn. A gladiatorial send-off, then, for a man for whom 'hero' does not seem hyperbolic. In understanding why, it emerges that for many Mead possesses attractive qualities that seem lacking today: a man from humble beginnings, with solid family roots, a fine work ethic, esteemed by peers and public, and showing grace and kindness to the many fans who clamoured for his attention at nightly signings outside the Adelphi. That the theatre enjoyed full houses throughout his tenure cannot be attributed to Any Dream Will Do alone (long surpassed by Nancies, X-Factors, and Britons with talent) and it has to be more than good looks and a mellifluous voice: that intangible 'something', perhaps. In a climate where even the fairytale seems credit-crunched, something nice happened: contrary to the British trait of building them up to watch them fall, we wanted him to do well. And, he did. Leaving six months before the show's closure is a brave move (Gareth Gates replaces cover, Ricky Rojas, in early February) and it is hoped that another leading role follows quickly. No pressure, Lee: but, we need our heroes. Anita Butler
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