The Mosman Musical Society's latest production of Joseph and the Amazing Technicolor Dreamcoat at the Zenith in Chatswood is an absolute joy to watch. From the moment the show began, it was clear that the cast was having a lot of fun, and their enthusiasm quickly spread to the audience. Despite some opening night nerves, the cast found their rhythm early on, leading to a thoroughly enjoyable and engaging evening.
Joseph and the Amazing Technicolor Dreamcoat, written by Tim Rice and Andrew Lloyd Webber, has a storied history. Initially composed as a short school concert piece in 1968, it expanded over time into the full-length musical beloved by audiences worldwide. The show is a vibrant retelling of the biblical story of Joseph, a young man sold into slavery by his jealous brothers, who rises to power in Egypt. Known for its eclectic mix of musical styles, ranging from country to rock ‘n’ roll, and its reliance on strong ensemble performances, it offers both humour and heart.
In this production, the kids' choir deserves special mention. Their energy and focus were infectious, contributing significantly to the overall atmosphere. Unlike many productions where the children's choir is used sparingly, often just a bookends to the show, this production featured them as active participants in almost every scene, adding depth and continuity to the unfolding story.
The enthusiastic audience were having fun, frequently breaking into genuine applause and laughter, particularly during the more humorous moments, like Chris Harris's rendition of "One More Angel in Heaven," which was one of the many highlights. Tennessee Baz-Jeffrey, in the role of Joseph, brought both emotional depth and vocal strength to the character. His performance of "Close Every Door for Me" was haunting and powerful, drawing the audience into Joseph's despair and resilience. In contrast, Brendan Iddles' Elvis-inspired "Song of the King" had everyone grinning and tapping their feet, perfectly capturing the show’s blend of humour and drama.
The direction and staging were expertly handled, making the most of the Zenith's intimate setup. Despite the limited stage space, the director, Julia Dance, and choreographer Georgia Van Der Sman ensured that the performance never felt cramped. The action occasionally spilled off the stage and into the audience, creating an immersive experience that was both engaging and dynamic. The decision to keep the orchestra visible on stage was a delightful touch, allowing the audience to appreciate the musicality up close.
Unlike other productions where the narrators are sometimes treated as part of an extended ensemble, this version cleverly employed three narrators—Annette Vitetta Verges, Bela Rivas, and Helen Cramp—whose unique and powerful voices kept the story flowing seamlessly from one scene to the next.
The choreography, while somewhat constrained by the small space, was wonderfully executed. It was clear that the cast had put in considerable effort, and their hard work paid off with dance numbers that complemented the storytelling perfectly. Georgia Van Der Sman's strong guidance (perhaps 'choreographic vision' would be a better term) was evident throughout, with the dance sequences fitting seamlessly into the various musical styles that the show is known for.
The minimalistic set design was a clever choice, ensuring that the focus remained squarely on the cast, the music, and the costumes. Instead of relying on elaborate set pieces, the production used effective projections—some of them animated—to establish scenes and locations, which worked beautifully.
The costume team, led by Susan Boyle, outdid themselves, with intricate costumes that were both visually stunning and thematically appropriate. A particularly amusing but subtle moment involved some cleverly designed sideburns attached to a pair of sunglasses, which drew a quiet giggle from me—though I won’t spoil the surprise for those who haven’t seen the show yet.
Musically, the production was supported by a competent seven-piece band, conducted by musical director Andrew Beban. True to the original score, the band provided a solid foundation for the performers, hitting their stride particularly in the later parts of the show, especially during the extended medley/dance-party that accompanied the bows. This energetic finale was a fitting conclusion to a well-paced performance that never dragged, keeping the audience engaged from start to finish.
Two performances particularly stood out: Nathan Yong, with his comically exaggerated French accent in "Those Canaan Days," left the audience in hysterics, while Pamela Allen's enthusiasm throughout the show was infectious. Her standout moment came during "Benjamin Calypso," where her energy truly shone, capturing the essence of the character and the show’s playful spirit.
Overall, I left the show grinning from ear to ear. Any minor technical issues typically associated with opening night were negligible and will likely be ironed out as the run continues. After the show, I had the chance to speak with director Julia Dance, and I mentioned how challenging it can be to keep a kids' ensemble focused and motivated. However, the children's choir in this production was an absolute joy, remaining enthusiastic and engaged through to the very last bow. Bravo to the entire cast and crew for delivering such a memorable and enjoyable evening of theatre!
Photography courtesy of Dani Hansen
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