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Review: Joseph and the Amazing Technicolor Dreamcoat

I left New Wimbledon Theatre last night grinning from ear to ear and humming ‘Any Dream Will Do’ after a wonderfully entertaining evening at this ‘brand new’ production of Joseph and the Amazing Technicolor Dreamcoat (I was tempted to add the ‘u’ but the US spelling is the trademark according to the programme!).

I may be one of the few in the audience who had never seen Joseph but even if I hadn’t remembered the story from my childhood, the narrator, ably played by Alexandra Doar, guides the audience through each chapter of the tale. It is a substantial role so I can give her the benefit of the doubt when I thought her voice wavered slightly on a couple of occasions.

Not so Mark McMullan as Joseph. I did not watch Britain’s Got Talent in which he was a finalist so he was unfamiliar to me but as soon as he started to sing, I was enthralled. I was particularly moved by his powerful rendition of ‘Close Every Door’.

The redoubtable Henry Metcalfe plays both Jacob and Potiphar as well as being choreographer and although too numerous to mention individually, as a group the brothers were very much in synch, reflecting the class of choreography. That said, each of them has his solo moment on stage and from time to time they are supported by the three handmaidens who play numerous female roles throughout the show.


In addition to the Narrator, a choir of youngsters from Babette Langford’s The Young Set school remain on stage for most of the performance and the choir also gets to take centre stage for one of the songs in Act II.

However I have to say, despite the possibility of it being a spoiler, that my favourite scene was when Pharaoh appeared.... as the King! His costume was perfect. You’ll have to go and see what I mean.

The entire show is very colourful, costumes and lighting especially with nice touches such as the brothers all in different coloured clothes while Joseph was in white (to start with at least) and to add interest, some scenes took place in different eras and locations such as 1920s and Paris respectively.

Naturally, the ending is quite spectacular and had the audience on its feet singing along with the cast and, as I said, still singing while leaving the theatre.

By Anne Horsburgh

January 22, 2020