Lyrics by Tim Rice

Music by Andrew Lloyd Webber

Directed by Laurence Connor

Review by Dominic Corr

Tickets from £15.00

The quintessential stage school musical has never felt so vivid or jubilant; over fifty years since it first brought its Technicolor magic to the world of musical theatre, Andrew Lloyd Webber and TimRice’s retelling of the Biblical story of Jacob’s son Joseph continues to be at the top of its game even now. The enormously beloved musical, in no small part down to much of its use of star castings and timeless lyrics, kicks off a world of dreams and colour once more, this time with a golden kilt and a wink, as Joseph and the Amazing Technicolor Dreamcoat proves, once more, it is one of the definitive musical experiences for all ages as it returns to the Edinburgh Playhouse until December 29th.

Gathered in a circle, an assembly of storytelling and wonder is ready to unfold as our Narrator takes up centre stage as audiences get the first flickers of Morgan Large’s spectacularly simplistic and clean yet effective design work, and Ben Cracknell’s kaleidoscopic lighting belts out of the Playhouse, and fends off those dour greys leaking in from the Winter air outside. Surrounded by a youth cast who put in tremendous work, top-quality from the future Josephs and Narrators of tomorrow, Joseph’s tale unfolds to an eager audience: those who love it, will smile throughout the night. Those who have never experienced it will be right there with them.

Filling in for the incredible Christina Bianco, no praise is too high for Charley Warburton’s stepping in for the Narrator role – the most integral part of this entire production. Yes, even more so than whoever checks Osmond’s dressing room for stowaways each night. Powerfully energetic, without robbing focus, armed with a pair of glittering trainers and black jumpsuit, Warburton ensures no disappointment with their puckish, even mischievous playing with the storytelling, dipping in and out of the action with glee. Warburton certainly emulates Laurence Connor’s direction of Bianco, though undoubtedly brings their envious flair and dedication to the part – carrying the story forward as audiences shift the shifting sands of Canaan to the Vegas-styled Pyramids of Pharoah’s Egypt.

Bringing the glitz, glamour, and hip-thrusts that have made them a household name for over six decades, Osmond’s return to the Joseph set has been one of the most enduring and anticipated casting news stories in recent years. It creates an anticipatory buzz throughout the Playhouse before the show even strikes a chord – but oh, when it does, the exceptionally tight structure Connor’s direction has over this stage is mingled with the infamous score, which is both nostalgic and euphonious, the audience unable to resist the odd hum or ‘Aaaah aaah’. But when his moment arrives – Osmond reminds everyone in the audience why he was a poster on the wall. And for some, still is. Osmond is the ultimate performer,  and their bridging moment, as Osmond returns to the focus back to a more contemporary Joseph in AdamFilipe, becomes a wholly symbolic and touching one as Osmond quips, ‘I did it in a loincloth’ – the production continues to move forward with audiences tastes and styles. Still, sometimes you just can’t beat looking back at the pioneers who catapulted the original musical into its legacy status.

And what safe hands the show finds in their Joseph, Filipe radiates warmth and matches with a sublime vocal that is distinctive enough to bring something new (their note change on the final ‘coat’ is glorious) while maintaining the nostalgia audiences have. Enthusiastic, but also comprehending the powerful moments Filipe’s Close Every Door To Me is haunting – the gut punch of brutality the production needs to fend off the sickly saccharine moments it often finds solace within.

Shifting up the genre and style of the songs makes for a production which all will enjoy, even those who think musicals might not be for them. The favourites of Joseph’s Coat, Song of the King, and Close Every Door remain as expected. Still, other showtunes are gilded with elements of pastiche from hoedown throwdowns, French chanson and folk, and even a cheerleader or five, all leading up to a finale which blows the doors off, and brings everyone into the church of song and dance – consider us converted. It’s all elevated by Joann M. Hunter’s tight choreography, which even works in a few tap routines or ballroom and never threatens to overload the energy or steal from the live orchestra below. Every element here is about delivering the perfect experience for audiences.

And Joseph and the Amazing Technicolor Dreamcoat delivers everything audiences want and more; this is the ultimate school play on steroids. Coming complete with tap dancing, colour, magic, song, heart, and yes, the infamous fake sheep, you’ll smile the whole way through. What was initially suspected as the show of the year for audiences due to Osmond’s casting has fast earned that moniker entirely in its own right: Go go go to the Playhouse this festive period, and relive one of musical theatre’s greatest – retold for audiences new and returning.

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