Joseph and the Amazing Technicolor Dreamcoat

The Lancaster Grand Theatre was positively glowing this week with colour, energy and sheer joy as Morecambe Warblers took to the stage with Joseph and the Amazing Technicolor Dreamcoat. Andrew Lloyd Webber and Tim Rice’s much-loved musical is always a crowd-pleaser, but this production managed to make it feel fresh, funny and fabulously alive from the opening megamix to the final megamix and all the megamixes in between!

At the heart of the production was Benjamin Pollitt in the role of Joseph. Benjamin's charm, sincerity and vocals anchored everything, playing the role with integrity and heart, yet managing to do so without taking himself too seriously. His “Close Every Door” was a highlight — heartfelt and controlled, holding the audience in complete silence until the well deserved applause. 

Ashleigh Hartin once again delivered a commanding and engaging performance as the Narrator, weaving the story together with clarity and warmth while navigating the show’s quick stylistic shifts with ease. Her rapport with both Joseph and the audience was a constant delight.

The brothers - Reuben (John Beamer), Simeon (Neil Dickinson), Levi (Tom Beck), Naphtali (Andrew Thompson), Issachar (JaydenDowns), Asher (Sam Reeve-Stennett), Dan (Charlie Anderson), Zebulun (Cade Langham, Gad (Matt Boardman) , Benjamin (Taylor Heald-Oliphant) and Judah (Steven Bryant)...... (hope that's all of them), were an absolute joy to watch. Their chemistry, comic timing and tight ensemble work gave every number vibrancy and personality. “Those Canaan Days” was wonderfully over-the-top, full of faux-French melodrama that had the audience laughing throughout, while “Benjamin Calypso” brought a burst of infectious energy.

As with every production, the introduction of Pharaoh always goes down a storm- Chris Isherwood practically stopped the show with his Elvis-inspired swagger - a crowd favourite moment performed with tongue firmly in cheek and a twinkle in the eye. On the night we saw it, there seemed to be a bit of an issue with the microphone/sound, as we had to strain a little to catch every word.

Shout out to Peter Thompson as Jacob. It was good to see him onstage and hear his silken vocals.

Vocally, the production was strong across the board from the youngest on stage to the oldest. You could tell they'd been worked hard by Musical Director, Angela Potter. Harmonies were crisp, diction clear, and everyone projected confidently into the large auditorium. The chorus provided a rich and well-balanced sound, never overwhelming the soloists but always supporting them with energy and precision.

Costumes were a visual treat-full of detail, texture and personality. The visual cohesion between costume, set and lighting made the production feel unified and professional throughout. The attention to colour and movement made every musical number a spectacle in its own right, culminating in a finale that had the audience on its feet and clapping along.

The set was a clever balance of simplicity and spectacle —L.E.D. screen and the minimal use of props where needed, but springing into life with bursts of colour and movement at just the right moments- if I had one niggle, it was the use of 'modern' pyramid pictures mixed with ancient ones. In saying this though, every scene felt considered and dynamic.

The famous coat itself shimmered under the stage lights, and the vibrant palette was beautifully complemented by imaginative lighting choices that brought each dream sequence and musical pastiche to life. 

Musically, the evening was a triumph. Under the assured musical direction of Angela Potter, the orchestra gave a polished and spirited performance, shifting effortlessly between the show’s many genres, from country and western twang to calypso bounce and rock ’n’ roll pastiche with flair and rhythmic tightness. The balance between pit and stage was spot-on, allowing the singers to shine while keeping the score alive and propulsive.

Sharon Bell as Director and Choreographer ensured that the production was pacey and polished, making the most of the show’s humour without losing its moments of sincerity. Movement was inventive, full of life, and cleverly tailored to the space, blending sharp group movement with moments of controlled stillness that kept the storytelling clear.

As the final bars of the “Megamix” rang out and the cast took their bows, there was no mistaking the sense of joy in the room. This was a show that radiated warmth, fun and passion from everyone involved — both onstage and behind the scenes, reminding us all why this show remains such a beloved part of the musical theatre landscape.  The audience's reaction gave us proof, once again, that even the most familiar coat can shine anew in the right hands.

Thank you, Morecambe Warblers, for your invite and hospitality.

 

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