The acclaimed London Palladium production of Joseph and the Amazing Technicolor Dreamcoat has arrived at Milton Keynes Theatre, running until Sunday 10th August.

Originally conceived as a concept album in 1969, this charming family musical has since become a beloved classic for all ages. With its infectious mix of pop and musical theatre hits, Any Dream Will Do, Close Every Door, There’s One More Angel in Heaven, and Go, Go, Go, Joseph, it continues to capture hearts worldwide.

This retelling of the biblical story, led by a Narrator, follows Joseph, Jacob’s favourite son, who is betrayed by his jealous brothers and sold into slavery in Egypt. Rising to a position of trust in Potiphar’s household, he is wrongfully imprisoned but discovers his gift for interpreting dreams. This talent brings him before the troubled Pharaoh, whose visions Joseph deciphers, enabling Egypt to prepare for famine. Rewarded as Pharaoh’s right-hand man, Joseph ultimately saves the nation and is reunited with his family.

I must admit, my own memories of Joseph were far from fond, dreary classroom sing-alongs, half-hearted school productions, and a general lack of excitement. I’d never been tempted to see a professional staging—until now. Perhaps I’m softening with age, but I found myself genuinely looking forward to this one.

The show opened in a classroom setting, complete with a sequinned-clad teacher who looked ready to hit the disco floor. I found that really odd. However, once the familiar songs began, the magic set in. The live orchestra that completely drove the show alongside the rich vocal harmonies filled the theatre with an energy that was both powerful and enchanting. The music alone gave me goosebumps, though at times it was far too loud, thank goodness I had brought my earplugs.

Visually, the production delivered in style. Striking swathes of brightly coloured Arabian fabric cascaded from the ceiling like Bedouin tents, instantly transporting us into the world of the story. The stark simplicity of the prison cell provided a sharp contrast to the grandeur of Pharaoh’s golden palace, opulent, majestic, and guarded by towering Egyptian statues and elaborate hieroglyphics. The costume design was exquisite, which was enhanced by dramatic lighting that together created a truly thrilling spectacle.

The choreography was vibrant and energetic, and the cast threw themselves into their roles with infectious enthusiasm, everyone giving 100%.

Adam Filipe as Joseph was outstanding; his charm, superb vocals, and heartfelt acting (especially in a raw, emotional Close Every Door) were a highlight of the evening, whilst McElderry’s cameo as Pharaoh was fun, playful, and very well-received.

However, it wasn’t a flawless experience. For me, a number of directorial choices undermined the show’s potential.

While Christina Bianco is undeniably an exceptionally talented performer, I felt that her portrayal of the Narrator didn’t quite suit the tone of this production. The highly Americanised, overacted, glamorous delivery, combined with a nasal vocal style and frequent shifts into other roles (such as Isaac), drew focus away from the story rather than supporting it.

At times, the production itself seemed unsure of its identity. After the opening scenes, we were suddenly transported to the Wild West, the Roaring Twenties, a French Can-Can, and even a basketball extravaganza complete with cheerleaders, transitions that, while imaginative, felt somewhat disconnected from the narrative.

I was also curious about the choice to cast children in certain adult roles, including Potiphar, the butler, the baker, and Joseph’s brothers (complete with false beards). Although the young performers handled their parts with professionalism, the approach occasionally jarred with the story’s tone and lent some scenes an unintended school-play feel.

In addition, a handful of light-hearted modern touches, such as Pharaoh being handed a Costa Coffee-style cup or the Narrator snapping selfies with the cast, tipped the atmosphere towards pantomime, which for me sat awkwardly alongside the more heartfelt moments of the show.

This performance didn’t resonate for me, but the standing ovation from many audience members indicates it was a success for them. This show is likely perfectly timed for the school holidays, making it a great option for a family night out. If you're interested, be sure to get your tickets quickly, as it will probably sell out.

Book your tickets now at ATGTICKETS.COM/MiltonKeynes.

Shahnaz (Shiny) Hussain - Arts Reviewer