Way, way back many decades ago; long before cats wore Lycra, trains roller-skated around theatres or Cinderella became bad… budding musical theatre composer Andrew Lloyd-Webber (now, Lord to you), was just a teenager when he co-penned what would become his first performed and perhaps most beloved musical. What started as a cantata in 1967 evolved into the vibrant, elaborate spectacle it is today- Joseph and the Amazing Technicolor Dreamcoat. Lyrics for Joseph are provided by Disney legend, and fellow EGOT winner, Tim Rice, which started a working collaboration that spans decades.

Now, almost 60 years after its incarnation, Joseph returns to Manchester with well-considered direction from Laurence Connor. Adam Filipe dons the coat of many colours and provides an emotive performance showing the growth of Joseph, with powerful vocals delivering a show-stopping rendition of ‘Close Every Door’.  Joseph alum, Joe McElderry, has graduated into the role of Pharaoh, which, although only in one scene, gives the audience the star casting they desire with a charismatic performance.

It’s always questionable whether one can spotlight one performer as a standout in a truly ensemble production, but Christina Bianco, ever the consummate professional, steers the camel in the right direction as The Narrator et al. To say she works for her supper would be an understatement; she barely leaves the stage, and when she does her energy is consciously missed. Vocally resonant, Bianco commands the stage throughout, giving her all to such a demanding role.

Although sparce, sleek set design from Morgan Large gives space for the aforementioned ensemble to deliver versatile and magnetic performances, particularly through Joann M. Hunter’s choreography which is animated and showcases a variety of styles- a tap-dancing rendition of ‘One More Angel in Heaven’ being a personal highlight.

Large’s design is smooth and functional and attracts the audience’s attention at every turn, with characterful costumes that exude eye-catching colours and textures which only serve to complement their counterparts. This is amplified through Ben Cracknell’s wondrous lighting design which brings the set to life. A standout scene is during the prologue where the lights dapple through the backdrop and eventually break through to open the story. The lighting is transitional in mood throughout and richly shows the contrast of the decadence of Egypt versus the eventual famine of Canaan (not can-can, I must add…)

Whilst Joseph may not be groundbreaking in 2025, it achieves what it sets out to do and provides an inoffensive and nostalgically joyful night at the theatre. Now to go, go, go and get the songs out of my head…

Joseph continues to play at Opera House, Manchester until Sunday 9th March. Tickets and further information can be found here.

Tickets gifted in exchange for an honest review.

Photography by Tristram Kenton.