Way, way back many centuries ago, not long after the Bible began, I appeared in a primary school production of Joseph. I played the Narrator, and whilst I had a whale of a time making my stage debut at the tender age of 9, my abiding memory of the whole experience is that the teacher who directed the show insisted I should wear absolutely shed loads of very theatrical makeup. It was the 80’s I suppose. I recall that I appeared along with other members of the cast in a Nottingham Evening Post photo feature about local school productions, bearing more than a passing resemblance to Boy George. Mum threatened to frame it. I’m far more embarrassed these days to admit that I’ve never seen a professional production of the piece. Until now that is.

One of the first musical collaborations between the legendary composer Andrew Lloyd Webber and lyricist Tim Rice, Joseph was written and first performed for a West London school back in 1968. It went over incredibly well and has subsequently been produced in the West End, on Broadway, and in many thousands of stagings worldwide. It is the undisputed king of the British musical. This new touring production directed by Laurence Connor was first performed at the hallowed London Palladium in 2019.

The story is one of Biblical proportions – well, it’s certainly Biblical having been directly lifted (although somewhat embellished) from the Book of Genesis. Joseph, Jacob’s favourite son, is sold into slavery in Egypt by his jealous brothers. After being falsely accused of a misdemeanor by his master Potiphar, he ends up in jail. He’s saved from certain death by his very special talent for interpreting dreams, and earns a place on Pharaoh’s top team rescuing Egypt from impending and otherwise unforeseen disaster.

The music is absolutely superb – Lloyd Webber is at the height of his powers here. Every piece is performed perfectly in this production, each number given a different musical style. The iconic ‘Go-Go-Go-Joseph’ receives the American cheer leader treatment, ‘Those Canaan Days’ has a mournful continental café vibe, and suffice to say there is plenty of Can-Can in Canaan this evening. Spectacular! The orchestra, under the direction of Musical Supervisor John Rigby, are thrilling to hear. What a treat!

There are rare occasions at the theatre when a cast seems absolutely exquisitely perfect for their roles and this is one of those evenings. Every performer is at their best and looks to be in their element up on that stage.

I, of course, pay very close attention to the narrator (my own role circa 1989). Tonight she is one Christina Bianco and ‘oh my goodness me’ what a performer. Bianco brings sass, vibrancy, energy and verve to every number. She sings in every scene and even tap dances too. What a magnificent energy she brings. She effortlessly weaves in and out of the narrative and the action.  I am all out of superlatives to describe this performance.

Our Joseph is Adam Filipe, who has the unenviable task of convincing us of the emotional heart of the piece. Filipe does so with aplomb. He sports the infamous ornamental outerwear with a twinkle in his eye, has the most beautiful voice and successfully carries us across the emotional landscape from the deeply mournful ‘Close Every Door’ to the delightfully toe-tapping ‘Any Dream Will Do.’ A tour de force of a performance which is lapped up by this appreciative audience.

Joe McElderry (of fine Joseph pedigree) has arguably the best role of the evening for he plays the Pharoah – an Elvis impersonating, hip-swivelling, oozing with sex appeal sort of Pharoah. Suffice to say that McElderry pulls it all off and then some. And what a voice! His show stopping performance is worth the ticket price alone – he is every bit the star!

Every scene is supported by a hard working and beautifully choreographed Ensemble who move seamlessly between dance genres to great effect. Kudos to Joann M Hunter who has placed each performer upon the stage for maximum impact.

I really enjoy watching the children’s chorus, made up of young talent from various stage schools. Their presence serves to remind us of the long link that this musical has with schools, first time performers and indeed that very first staging back in ‘68. Every one of them is a pro, seamlessly transitioning between sweet onlookers to characters in the story. A brilliant touch.  

Set design and costume by Morgan Large is vibrant, colourful and gloriously cheerful. What a perfect antidote to this bleak February evening.

My recommendation? Go, Go, Go see it! It is a stunningly good reimagining. This pitch perfect cast perfectly present a tale as old as time. The music is catchy, the performances are joyous. If you only see one show this year, make it this one.

The epic Joseph And The Amazing Technicolor Dreamcoat plays at Nottingham Theatre Royal until Saturday 15^th February 2025.