It’s difficult to know exactly who Andrew Lloyd Webber and Tim Rice’s Joseph and the Amazing Technicolor Dreamcoat is meant for. Born in the early 1970s – the same era that produced the groundbreaking Jesus Christ Superstar – Joseph feels like its younger sibling. It’s still a sung-through rock opera based on a Biblical story; however, instead of exploring faith and sacrifice with operatic intensity, it embraces colorful spectacle, broad comedy, and musical pastiche. At its best, it’s an infectious celebration of music and performance. At its weakest, it can feel like a series of disconnected ideas searching for a cohesive vision.
For those unfamiliar, the story follows Joseph (Brian Justin Crum), the favored son of Jacob, whose jealous brothers sell him into slavery after their resentment boils over. Gifted with the ability to interpret dreams, Joseph eventually rises from prisoner to advisor of Pharaoh, setting the stage for a heartfelt reunion with the very family that betrayed him. It’s an intentionally whimsical retelling of the Biblical tale, moving through everything from country western to French cabaret, calypso, rock, and pop.
Musical Theatre West’s new production attempts to modernize that playful spirit by layering in contemporary pop culture references throughout the evening. In theory, it’s an extension of what the original production always did, using current musical styles and cultural touchstones to keep the show fresh. In practice, however, many of the references feel oddly chosen or underdeveloped.
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One of Joseph’s brothers resembles country artist Orville Peck, but the visual gag never evolves into anything meaningful. Narrator Daebreon Poiema first appears as one-third of Destiny’s Child—a cute entrance, though one that already feels like a nostalgic reference rather than a current one. Later, Joseph’s brothers and their wives are seemingly presented as K-pop performers. While the choreography occasionally hints at that style, there is little context or commitment to the concept, leaving audiences wondering why they’re performing this way in the first place.
The costumes only add to the confusion. Characters appear in everything from leather shorts and vests to wildly mismatched contemporary fashions, giving the production an inconsistent visual identity. Most puzzling is the titular dreamcoat itself. Rather than the vibrant explosion of color audiences expect, Joseph spends much of the evening in a predominantly black leather coat with colorful fabrics hidden inside the pleats. Unless Brian Justin Crum is constantly spinning, the famous “Technicolor Dreamcoat” barely reveals its colors at all. It’s an especially curious decision considering the show’s advertising and program prominently feature Crum wearing the iconic rainbow-colored coat audiences have come to associate with the musical.
Unfortunately, these conceptual choices often overshadow the storytelling itself. Combined with microphones that occasionally muddy important lyrics, following the plot becomes more difficult than it should be. Since nearly every word of Joseph is sung, clarity is essential. Too often, clever staging and visual distractions compete with the narrative instead of supporting it.
Thankfully, the cast consistently rises above those production hurdles.
Daebreon Poiema delivers a commanding Narrator, infusing the role with Beyoncé-inspired confidence and charisma. Even when the sound mix occasionally obscures lyrics, her stage presence remains undeniable, serving as the evening’s energetic guide.
Adam Lendermon provides one of the show’s bigger highlights as Reuben during “Those Canaan Days.” His performance embraces the charming theatricality of the original production, giving the number a grounded comic energy that feels refreshingly sincere after several more frenetic sequences.
Kenneth Mosley is another standout, bringing infectious charisma to Pharaoh. His energetic “Poor, Poor Pharaoh”/”Song of the King” is one of the production’s most purely entertaining moments, earning some of the evening’s biggest laughs while embracing the show’s playful spirit.
Still, there’s little question about who the evening belongs to.
Brian Justin Crum is sensational as Joseph. Possessing seemingly effortless vocal control, impeccable pitch, and a soaring upper register, he delivers powerhouse performances throughout the evening. His rendition of “Close Every Door” stops the show cold, reminding audiences why this song has become one of Andrew Lloyd Webber’s signature ballads. It’s emotional, technically flawless, and worth the price of admission all by itself. Crum’s magnetic presence often elevates scenes that might otherwise become lost amid the production’s more bewildering creative decisions.
Ultimately, Musical Theatre West’s Joseph and the Amazing Technicolor Dreamcoat offers an evening filled with exceptional talent, memorable vocals, and undeniable enthusiasm. The cast clearly commits wholeheartedly to every moment, and there are flashes of genuine theatrical magic throughout.
Yet the production never quite finds a unified identity. Too many of its creative choices feel arbitrary rather than purposeful, making it difficult to invest emotionally in the story beneath the spectacle. Some audiences will undoubtedly embrace the constant visual surprises and playful reinvention. Others may leave wishing those ideas had been tied together by a clearer artistic vision.
This coat of many colors may not entirely live up to its dream. However, thanks to its remarkable performers – and one truly unforgettable Joseph – it still manages to be, at times, amazing.
“Joseph and the Amazing Technicolor Dreamcoat” runs July 10-26th at the Carpenter Performing Arts Center, Long Beach, CA.
For tickets, visit Musical.org.
