⭐️⭐️⭐️.5

Andrew Lloyd Webber and Tim Rice’s Joseph and the Amazing Technicolor Dreamcoat is a show that knows exactly what it is—bold, playful, and bursting with colour, and sometimes things are better left as they are. This touring production leans very heavily into that with a lighthearted approach, high-energy choreography, and a visually spectacular design. While it largely succeeds in delivering an entertaining night at the theatre, some creative choices don’t always land as well as intended.

The production is stunning. Morgan Large’s set design and Ben Cracknell’s lighting combine to create a true visual delight. The lighting, in particular, was a standout element, adding depth and drama to the storytelling and enhancing each musical number. For me, the lighting and the orchestra was my absolute favourite part about the show.

Taking on the role of Joseph, Adam Filipe is superb. I will admit, the first couple of songs, I wasn’t convinced. But, his vocal and power really proved themselves in Close Every Door. He really comes into his own once he becomes Pharaoh’s number 2 demanding the stage with power and presence.

Joe McElderry, returning to Joseph, takes on the role of Pharaoh this time around. Though he doesn’t appear until the second act, his arrival in Song of the King is fun. He isn’t quite Elvis but still brings plenty of charisma. Christina Bianco as the Narrator fluctuates between phenomenal and cheeky to grating for me. She guides the story well with a wink and varying roles that change with the addition of a fake beard or a coat.

One of the most notable creative choices in this production is casting children in several key roles, including Joseph’s younger brothers which despite recognising they’re fantastic upcoming talents, it didn’t land for me. While the young performers are clearly talented, this decision occasionally makes the production feel more like a school play than a professional tour. Some numbers, such as Benjamin Calypso, didn’t quite land as powerfully as they could have with more experienced adult vocals. I also thought the choice to cast a child as Mr Potiphar was inappropriate and a poor choice.

That said, the ensemble is incredible, elevating the production with step-perfect movement. The tap number was a particular highlight. Joann M. Hunter’s choreography provides a constant buzz and excitement. This is a show that thrives on its dance breaks, and the cast executes them with excellence. I have to say though, Go Go Go Joseph with cheerleading just… wasn’t for me.

Overall, Joseph is a vibrant production with some incredible performances. While the use of child actors in major roles didn’t always work for me, the show’s energy, and timeless songs make it a crowd-pleaser for all ages.

Playing at the Royal Concert Hall, Nottingham until 15th February, and will come back locally to Curve, Leicester from 1st-5th July, it’s well worth catching if you’re looking for a fun, family-friendly night at the theatre.