As a child Joseph and the Amazing Technicolor Dreamcoat was the first professional
show I went to see, so going to review it, and having not seen it for some time, it’s
fair to say I had mixed emotions. Would it be as amazing as I remembered, would
my childhood memories be dashed or would I see something that made me fall in
love with show all over again? Thankfully it was the latter, the curtain rose to reveal a
bold, brilliant retelling of my beloved show, and from the very first chord, it’s clear this
production is brimming with colour, energy, and a deep affection for the classic
musical. Andrew Lloyd Webber and Tim Rice’s biblical romp has long been a staple
of the musical theatre canon, and this staging honours its legacy with creative flair
and heartwarming touches.
From the outset, the choreography sets the tone for the evening: imaginative, tightly
executed, and bursting with variety. In particular, One More Angel in Heaven is a
standout moment — the tap number injects the scene with a delightful old-Hollywood
charm and by the end of the number it is hard not to believe you are watching
something by Rogers & Hammerstein. It's a joyful surprise, elegantly performed and
crisply timed, offering a wink to musical theatre’s golden age while keeping the
energy fresh and contemporary. This theme continues throughout the show, with
choreography that nods respectfully to musicals of yesteryear, weaving in styles from
Western to calypso, Parisian café to Elvis-inspired rock & roll. It’s a smorgasbord of
styles, executed with discipline and charisma by a well-rehearsed ensemble.
At the centre of the show, of course, is Joseph himself tonight played superbly by
Davide Fienauri. He was a charismatic and vocally impressive figure, commanding
the stage with charm and poise. The role demands both vocal dexterity and genuine
pathos, and he delivered on both fronts, especially in Close Every Door, where his
performance was deeply felt and vocally rich. This needs to be a standout number
and this performance did not disappoint, from the unaccompanied opening to the
final note it was an emotional and wholly believable performance. This setting was
simple and the children arriving ghost like at the start and their accompaniment
throughout made this one of the most enjoyable memorable performances I have
witnessed.
The Narrator, meanwhile, carried the connective tissue of the story with clarity and
warmth. The role’s demands are unique and Christina Bianco’s performance as part
storyteller, part cheerleader, part emotional anchor was perfect. The role has
certainly changed since my initiation into the Technicolour world and Bianco
interacted with the company adults and children seamlessly, balancing being present
and noticeable when needed but not undermining the other performers during their
spotlight moments.
Joseph’s brothers did not disappoint and were brilliantly led by Hugh Cotton as
Ruben, Those Canaan ( or was it Can Can ) Days was superbly executed.
Of course, no production of this show is complete without a good Pharaoh, thankfully
Joe McElderry certainly did not let us down. Clearly enjoying the role and the power
the character has with both, performers and audience alike, making the most of
every note and every hip thrust!
A bold choice that paid off handsomely was the casting of the children not only as
ensemble but as leading characters. In fact, the entire use of children in the
production was remarkably effective. Rather than feeling tokenistic or gimmicky, their
presence brought a sense of community and wonder, grounding the production with
an earnestness that was both refreshing and moving. Their enthusiasm was
contagious, their vocals strong, and they navigated the choreography with
remarkable confidence.
Visually, the production dazzled without overwhelming. The costume design was
faithful to the show’s famously vibrant aesthetic. Lighting was used to excellent
effect, especially during the more introspective numbers, and the set design was
cleverly versatile, allowing for smooth transitions between scenes without ever losing
pace.
Musically for me this too was a triumph. Whether it was adults or children performing
the emotion, pathos or joy, came across enormously and whilst this is in part of
course due to the talented performers I cannot believe a huge part of it is not down
to the Musical Director conductor John Rigby. Rigby even before the show started
built a rapport with the audience and throughout the performance rocked and
flamboyantly conducted, his enthusiasm spreading to both performers and audience
alike and he and the orchestra fully deserved their applause and the end of the
performance.
What ultimately makes this production of Joseph such a success, though, is its sheer
sense of joy. It captures the essence of why this show continues to endure — its
catchy melodies, its emotional accessibility, and its ability to appeal across
generations. Whether it’s a cheeky Elvis Pharaoh, a mournful jail cell ballad, or a
rousing megamix at the end, which had almost the entire audience on their feet,
each moment feels considered, heartfelt, and fun.
However, one questionable directorial choice (only my opinion) came at the curtain
call, where the Narrator and Pharaoh were given the final bow over Joseph. While
this might have been intended to acknowledge the demanding nature of the
Narrator's role, and star billing for Pharaoh, it felt somewhat misjudged given that
Joseph is, after all, the titular character and emotional core of the show, and certainly
for me Fienauri’s performance deserved recognition, however this was a minor
misstep in an otherwise well-structured finale.
Final Verdict: A vivid, charming and skilfully choreographed revival that honours the
spirit of the original while bringing its own vibrant energy. This is a production that
soars — a technicolor triumph in every sense of the word. Get your reasonably
priced compared to some productions (again my opinion) tickets whilst you can !!
This show is from Wednesday 9th April to Sunday 13th April 2025
Reviewer: Jen O’Beirne
On: 11.4.25
