Joseph and the Technicolor Dreamcoat

Bursting with colour, charm, and boundless energy, this production of Joseph and the Amazing Technicolor Dreamcoat from SADOS delivers exactly what audiences hope for from this beloved musical by Tim Rice and Andrew Lloyd Webber: an irresistibly feel-good experience. First written as a short pop-cantata for a school concert in the late 1960s, Joseph quickly grew into a full-length stage show, becoming one of the duo’s earliest and most enduring successes. Drawing on the well-known biblical story, the musical blends playful storytelling with an eclectic score and in this production the show’s infectious spirit shone brighter than ever.

At first, the staging left me somewhat puzzled: its basic, almost rudimentary design resembled the kind of set you might expect to find in a primary school hall. The projections on the upper half of the cyc—simple drawings and illustrations that looked as though they could have been created by a young child—only reinforced this impression. However, after reading director Paul Coleman’s notes in the excellent programme, the concept became clear. He aimed to honour the musical’s origins as a piece written for schools and to present the story as if seen through the eyes of the children who appear at the start of the production. With that context, the approach struck me as both thoughtful and clever. Still, for audiences who hadn’t read the programme, this intention could have been made more immediately evident. Having the Narrator begin as a teacher telling a story to her class—signalled by a simple costume choice or by having the children gather at her feet for story time—might have bridged that gap and clarified the concept from the outset.

Understanding this directorial vision also helped illuminate the pivotal role of the Narrator, played by Alison Johnson-Smith, whose performance anchored the entire production with remarkable skill. She was nothing short of a tour de force, delivering a musical-theatre masterclass with clean, crisp diction and a vocal purity at times reminiscent of Julie Andrews. Her expressive, warmly engaging face and big, bright, welcoming eyes drew the audience effortlessly into the story, making her the natural guide through its shifting moods and styles. Alison navigated these transitions with impressive ease, shaping her performance to suit each musical genre—her playful 1920s Charleston mannerisms in Potiphar being a particularly delightful example. With her strong, clear, and commanding mezzo-soprano voice, she demonstrated exquisite vocal control throughout, ensuring that every musical moment she touched was delivered with assurance, clarity, and heartfelt charm.

Following on from Alison’s vibrant command of the stage, Geran Jackson in the titular role of Joseph, proved every bit her equal in presence and skill, anchoring the show with a warm, lyrical voice that carried both softness and undeniable power. His rendition of Close Every Door was richly emotive, beautifully controlled, and delivered with a musical sensitivity that made every phrase feel purposeful. Beyond his vocal finesse, Geran brought a grounded, heartfelt sincerity to Joseph, shaping the character’s journey with nuanced acting choices and an expressive physicality that made his transformation compelling to watch. Together, his musicality and emotional depth elevated the production, ensuring Joseph’s story resonated long after the curtain call.

James Emmett-Laing demonstrated his versality by taking on the roles of the two most significant supporting characters. As Jacob, James delivered thoughtful interactions with his sons, and he brought a gentle warmth to the family dynamic that helped shape the brothers’ motivations. He did, however, lack some of the gravitas the role demands; even with the grey beard, he didn’t quite project the physical presence of an older patriarch. His turn as the Pharaoh was great fun and showcased a completely different side of his talent. With a pleasant singing voice and an impressive southern drawl, he leaned into the Elvis-inspired swagger, offering a performance marked by charm and stylistic flair. It remained a clear crowd-pleaser, and James looked to be having an absolute blast onstage.

From there, the focus broadened naturally to the ensemble of brothers, whose collective energy and cohesion added tremendous colour to the production. They worked exceptionally well as a unit, blending their varied vocal qualities into a rich, balanced sound and delivering choreography with a lively sense of camaraderie that kept each group number buoyant and engaging. Among them, Ed Griggs stood out in his role as Reuben, leading the country and western inspired One More Angel. He brought a warm, rich baritone to the number, giving it both style and character. His comedic instincts shone again when he adopted a delightfully over-the-top faux-French accent to lead Those Canaan Days, earning well-deserved laughs. Ed has great energy, sharp character-acting skills, and undeniable stage presence—though as he continues to grow as a performer, he may need to ensure he doesn’t unintentionally upstage or draw focus when working within an ensemble. Melissa Roberts also impressed as Judah, infusing Benjamin Calypso with exuberance and animation, her vibrant, expressive singing voice lifting the number into one of the evening’s many joyful highlights.

Other members of the brothers’ band took on additional roles and provided some truly charming cameos that added colour and humour throughout the show. Richard Slade and Dex Tomlins delivered an enjoyably comic pairing as Potiphar and his wife, playing off each other with a light touch that kept their scenes lively without tipping into excess. Mrs. Potiphar’s attempted seduction of Joseph was especially amusing—Geran Jackson’s wide-eyed panic in response was priceless and landed the moment perfectly. Lily Bergin and Hayley Reed made strong impressions as the Butler and the Baker, each bringing clear characterisation, crisp timing, and confident vocals to their brief yet memorable appearances.

Completing the cast was the junior chorus from Act II Theatre Company and each of the young performers in this choir brought wonderful energy to the production, performing with an enthusiasm that was infectious from the moment they stepped onstage. They clearly were really enjoying themselves, singing with big smiles and throwing themselves wholeheartedly into every moment. Their responsiveness to the action around them—whether reacting to Joseph’s dreams or the brothers’ antics—added an extra layer of liveliness to the storytelling. Altogether, their vibrant presence helped elevate the entire performance and gave the show a joyful, spirited heartbeat.

Supporting the cast was a superb 12-piece band, conducted with flair by Karl Gernert. From lively ensemble numbers to tender solos, the musicians navigated the show’s wide range of styles with skill and versatility, providing a full, dynamic foundation that perfectly complemented the onstage performances. Their precision and responsiveness added energy and texture to every scene, making the musical experience feel vibrant and engaging throughout.

All the strong individual and ensemble performances were skilfully brought together under the guidance of director, Paul Coleman, who ensured that every element of the production, from acting and singing to comedy and choreography, worked in harmony. Musical director, Kay Wood, deserves special praise for drawing out the very best in the cast’s vocal performances, balancing solos and ensemble pieces so that each voice shone while supporting the overall sound. Meanwhile, choreographers Mandy Jackson and Katie Adams created movement that was simple yet striking, perfectly tailored to the style and energy of the show. The dance routines were executed with precision and flair, appearing slick, tight, and clearly well-rehearsed, adding a visual punch that elevated the production even further.

Well done to Mandy Jackson, Vickie Turner and Amanda Reed for the costumes which were generally very good and well-suited to the characters, though I would have liked to see a bit more cohesion among the brothers’ outfits to help unify them visually. The Narrator’s costume (made by Paul Johnson) was beautiful; subtle and elegant, and Joseph’s coat was gloriously vibrant and immediately eye-catching, perfectly reflecting his central role in the story. I adored the Pharaoh’s costume, it was clever and expertly crafted, seamlessly blending traditional Egyptian elements with the iconic Elvis Vegas jumpsuit—a truly impressive design. I also loved the Butler and Baker costumes, which used the same imaginative mash-up of Egyptian motifs with classic servant attire, giving these smaller roles memorable visual flair. The only costume I would have changed was Jacob's; unfortunately, the bright red robe teamed with the white tunic and long beard made him look a little too much like Santa Claus. Also, it was a shame the two performers playing the ‘hairy’ Ishmaelites and Pharaoh’s ‘handmaidens' were only in polo shirts like the junior chorus with a suggestion of character coming from the addition of headwear. I felt this didn’t quite work as all the other adult performers were in full costume; it might have been more effective to reserve the polo shirts for the children, keeping that thematic element of school pupils listening to a story in people’s minds.

The technical elements of Joseph were executed with impressive professionalism and flair. The lighting design by Andy Johnson-Smith was superb—slick, polished, and perfectly complementing every scene. I particularly liked the playful chase of coloured lights during Joseph’s Coat, as well as the moody, atmospheric lighting for Close Every Door, which added real emotional depth. Sound technician Jake Merrill ensured the audio was well balanced and clear throughout, allowing both vocals and orchestra to shine without ever overpowering one another; cues were tight, and every microphone change felt seamless. Stage manager Alan Jackson and his team kept the action flowing with smooth, efficient scene changes that maintained the show’s momentum without breaking the audience’s immersion. The set and props were strong, well-constructed, and fully aligned with the director’s vision, offering a vibrant yet practical backdrop that supported the storytelling beautifully.

In all, this production of Joseph and the Amazing Technicolor Dreamcoat from SADOS was an evening of joy, humour, and pure theatrical delight—one that I’m sure left the audience beaming long after the finale. My sincere thanks go to director Paul, musical director, Kay Wood, choreographer, Mandy Jackson, and the whole creative and technical team and, of course, the wonderful cast, for delivering such a vibrant, polished, and heartfelt show. As my friend, who joined me for the performance, perfectly summed up on our way out: “Two hours of sunshine on a really awful rainy night.”

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