Jac Yarrow (Joseph) and the company of JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT. Photo: Tristram Kenton
Reimagined for a modern audience, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT delights and surprises thanks to its theatrical inventiveness and superb cast performance
Following two successful seasons at the London Palladium, the hit 2019 staging of Andrew Lloyd Webber and Tim Rice’s JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT finally heads out on tour in 2022, launching with a two-week season at Manchester’s Opera House.
Based on the biblical story of the youngest son of Jacob, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT tells the tale of a dreamer. Jealous of the multi-coloured coat given to Joseph by his father, Joseph’s brothers sell him into slavery after initially plotting to have him killed.
Since its original concept, the musical has been performed in 86 countries and has starred many famous faces around the globe, including Jason Donovan, Donny Osmond, Phillip Schofield, David Cassidy and more.
Those familiar with the multi-award-winning musical will know it originally began life as a school play back in 1968. In this version, Director Laurence Connor, together with set and costume designer Morgan Large, play heavily on its roots, using a classic school nativity style to balance the heart and the sublime silliness of JOSEPH.
Jason Donovan & company in JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT. Photo: Tristram Kenton
There’s plenty of theatrical inventiveness at play here that both delights and surprises. The decision to use the children to play Joseph’s smallest brothers, dressed in fake beards and oversized costumes, as well as in the larger role of Potiphar, works well.
Similarly, the daft use of props, including camels made from bicycles, toy sheep on skateboards and an acrobatic goat, all add to the silliness of the piece and serve Rice and Lloyd Webber’s eclectic, witty and catchy score magnificently well.
The new dance pieces, choreographed by Joann M Hunter, are a welcome addition, with a mix of street dance, tap, line dancing and a riotous can-can number, making for even more of a visual spectacle.
This version also substantially bulks up the role of the Narrator, played by former Strictly finalist Alexandra Burke. As well as guiding us through the story, the Narrator now plays several characters and leads the dance numbers. Unfortunately, this doesn’t always translate well on stage. While the smaller character roles work well, the decision to have the Narrator play Joseph’s father, Jacob, means that some of the musical numbers lose their edge.
Alexandra Burke, Jac Yarrow and Ensemble in JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT. Photo: Tristram Kenton
This, however, is no reflection on Alexandra Burke, who delivers a star performance as the Narrator. As expected, she is vocally thrilling in the role, as well as being a joyful, high precision dancer, despite being six months pregnant. She’s also irresistibly funny, reacting to the action on stage, even when she’s not a part of it, and interacting with the audience throughout.
The show also sees the return of Jason Donovan, who played the title role in 1991. Donovan now stars as a rockabilly Pharaoh, and while he struggles a bit with his Elvis-lite musical number, his generously self-deprecating turn is still a delight to watch as he camps up the role to great comic effect.
But it is Jac Yarrow who truly steals the show as Joseph, delivering just the right amount of cheek, charm, and depth the role requires. His moving performance of CLOSE EVERY DOOR is as emotive as it gets, and his vocal performance is strong enough to rival the power of Burke’s in some cases.
All in all, this is a triumphant remounting of JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT that is bolder, brighter, and better than ever. An uplifting, glittering night of entertainment, entirely worthy of the ticket price.
JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT runs at the Opera House, Manchester, until 2 April 2022
Donna is the Founder and Editor of Frankly, My Dear UK. By day, she works as a digital marketing specialist, by night she reviews film, theatre and music for a wide range of publications including WhatsonStage and The Reviews Hub. Loves Formula 1, prosecco and life.
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