A Bright, Colourful, Vocally Sound Performance – However, the Production Itself Was a Little Underwhelming…
Tonight’s visit to the Sunderland Empire to see Joseph and the Amazing Technicolor Dreamcoat promised a vibrant spectacle, but while the cast shone brightly, certain production choices left the experience feeling less impactful than expected.
Christina Bianco leads the cast as the Narrator in this new touring production, fresh from the West End. Bianco, no stranger to the stage with credits in Hello, Dolly!, Oklahoma!, and The Wizard of Oz, delivered a vocal performance that was nothing short of flawless. Her stage presence was electric, commanding attention with every line and song. However, in this production, the Narrator also takes on the roles of Jacob and Mrs. Potiphar. While Bianco is more than capable, this unorthodox choice muddied the waters. For a story that already leans heavily on abstract narrative, these additional roles may have left some audience members confused.
For those unfamiliar, Joseph and the Amazing Technicolor Dreamcoat is a timeless Andrew Lloyd Webber and Tim Rice musical that reimagines the biblical tale of Joseph, his prophetic dreams, and his journey from betrayal to triumph. Told through a kaleidoscope of musical genres, it’s a family-friendly show that combines humor, drama, and catchy tunes like “Any Dream Will Do” and “Close Every Door.”
Adam Filipe, a fresh-faced newcomer in the title role, was an absolute delight. His powerful singing voice was the highlight of his performance, particularly in his heartfelt renditions of Any Dream Will Do, a song which is showcased at the beginning and end of the production. And while Filipe’s version of Close Every Door was engaging, those familiar with Joe McElderry’s iconic performance of the song in the 2016 UK tour, will inevitably draw comparisons. McElderry’s “Close Every Door” remains a personal favourite, setting a high bar that Filipe admirably aimed to meet.
Speaking of McElderry, his Act 2 entrance as the Pharaoh was a showstopper. Carried onto the stage with all the camp flair one could hope for, he brought charisma and Elvis-esque charm to the role. Despite having only a three-day break from an exhausting pantomime run at the Theatre Royal in Newcastle, his energy was infectious, and his command of the stage was second to none.
While we both agreed the Bill Kenwright direction of Joseph is by far our favourite of the two, something we greatly enjoyed about this UK Tour is the switching up of actor playing the role of Pharaoh. In this reimagining, the role of the Pharaoh is played by an actor who has previously played Joseph. This gives a unique opportunity for audiences to see the likes of Donny Osmond, Jason Donovan and Joe McElderry in a different role within this iconic production.
The inclusion of children in the production was a nice touch, but the execution was uneven. The school choir, in particular, felt like a missed opportunity. At times, their involvement blurred the lines between supporting roles and ensemble work, and their lack of clarity during some songs detracted from the polished professionalism of the main cast. Having the children perform parts of Potiphar’s role and as some of the brothers was a bold choice, but it highlighted their inexperience, especially in the more vocally demanding moments.
However, at times, the production felt chaotic. There were moments when too many cast members crowded the stage, making some scenes feel visually cluttered and unfocused. Additionally, the show seemed to have dropped a tempo overall, with some numbers feeling noticeably slower than usual. This lack of pace occasionally sapped the energy that is crucial for a show like Joseph. While the choreography excelled in parts, certain dance routines leaned more toward a Glee-like aesthetic, which felt at odds with the show’s usual theatrical polish.
From a technical perspective, the production was a mixed bag. The lighting design was excellent and complemented the vibrant and colorful nature of the show beautifully, adding depth and atmosphere to key moments. However, the sound quality left much to be desired. At times, the vocals felt underpowered, and the balance between the singers and the orchestra was inconsistent, making it hard to fully appreciate the ensemble numbers. This was particularly noticeable during the medley at the end of the production, which, to its credit, finally brought the sound to a level that had the audience on their feet, clapping and dancing along. It was a much-needed moment of joy and energy that closed the show on a high note.
The sets were vibrant and colourful, and they worked well for the most part, but there was a sense of them being slightly half-hearted compared to previous productions. They lacked the grandeur and depth that have previously helped bring this beloved story to life.
Overall, while the production retained the technicolor vibrancy that fans expect, it lacked cohesion in some of its creative decisions. The talent of the lead cast, especially Christina Bianco, Adam Filipe, and Joe McElderry, carried the show, but these strong performances couldn’t fully compensate for the uneven pacing, crowded staging, inconsistent sound, and occasionally underwhelming set design. For newcomers to Joseph, the magic of the story and songs will still resonate, but seasoned fans may leave wishing for a more traditional and polished approach.
Joseph And The Amazing Technicolor Dreamcoat is running at The Sunderland Empire until Sunday 19th January 2025 before it will embark on a UK wide tour.
