REVIEW: Joseph and the Amazing Technicolor Dreamcoat – Spotlight Theatrical Company

Season: 9 May – 31 May

Lyrics by Tim Rice | Music by Andrew Lloyd Webber

Directed and Vocal Directed by David Valks | Choreographed by Jackson Cook & Lucy Martin

Spotlight Theatrical Company continues to cement its reputation as a powerhouse of community theatre with its latest production of Joseph and the Amazing Technicolor Dreamcoat.

If any dream will do, then this production is surely the dreamiest of them all — a glittering technicolor explosion of energy, humour, and an overflowing rainbow palette of joy. This classic Lloyd Webber and Rice musical may be entirely sung-through, but it’s the physical storytelling, vibrant design, and larger-than-life theatrics that truly make this Joseph sing. (Well… that, and the powerhouse vocals throughout.)

After their dazzling production of Fame, I knew I couldn’t miss seeing how Spotlight would tackle Joseph. I brought my mum along as a special Mother’s Day treat — she hadn’t seen Joseph live on stage since the 1970s (except for the Donny Osmond film, naturally). I even dressed the part in my brightest rainbow dress, and let’s just say I blended in beautifully — “a walking work of art,” or, as Ashley Williams adorably flubbed mid-show, “a working walk of art.” We love a tongue-tied moment.

Director David Valks, who has himself performed this show in the UK, brings his vibrant vision to life on the Gold Coast stage. The brilliance of this show lies in its genre-hopping score: one moment it’s Elvis-style rock ‘n’ roll, the next it's calypso, then it’s country-western, or French chanson. The story follows dream-interpreting golden boy Joseph, the favourite son of Jacob, who is sold into slavery by his eleven jealous brothers (rude…). But don’t worry — this isn’t a tragedy. It’s an all-singing, all-dancing, glitter-clad tale of dreams, despair, and eventual redemption. It’s more than a biblical retelling; it’s a kaleidoscope of camp and show-stopping musical moments that light up the Spotlight stage.

Joseph’s Dream Team

Ashley Williams is an absolute dream as Joseph — bright-eyed, sweet-voiced, and sparkling with warmth from his very first entrance. He radiates boyish charm, making him instantly loveable (although not to his brothers…), and he sings with a crystal-clear tone that could part the Red Sea. He performs with heart and humility — there’s no obvious ego here, just sheer passion and a connection to the role. From the opening of "Any Dream Will Do," he beams his way through the show like a technicolour tornado. He looks positively fabulous in the iconic coat of many colours, twirling like he's starring in his own Kylie Minogue music video—“I’m spinning around, move outta my way!” But it’s in "Close Every Door" — one of my favourite group ballads — where Ashley truly stops the show. Bathed in dramatic backlight and drenched in reverb, his voice soars with stunning clarity and effortless strength. With the haunting richness of the backing harmonies, it’s one of the most breathtaking moments in the production. I genuinely wish I could bottle that moment and carry it with me. (Though I did expect the children to have faux candles in this scene — it felt like the touch that was missing from the "children of Israel are never alone!" moment.)

Leah Erskine is the show’s guiding star — our ever-present Narrator, and the vibrant thread weaving the entire story together. With a rich, expressive vocal tone and the stamina of a Broadway marathoner, Leah tackles this vocally relentless role with ease, beauty, and crystal-clear storytelling. The narrator role is no easy feat — she’s in almost every number, darting between styles and moods at lightning speed — but Leah never drops her energy for a second. Whether delivering tender moments with sincerity in "Poor Poor Joseph" or charging headfirst into wild chaos like “Potiphar”, or belting the roof off in "Pharaoh Story", she does it all with seasoned confidence. I would’ve loved to see a little more sass and camp in her delivery at times — but it definitely peeked through during one particularly cheeky moment when her spotlight arrived fashionably late and she gave it a perfectly timed “really?” reaction. In a show bursting with big moments, Leah Erskine remains a steady, sparkling presence.

Andrew King is fabulous as the rhinestoned, hip-thrusting Pharaoh. His rendition of “Song of the King” is so wildly entertaining, they give it to us twice. It’s a perfect blend of Vegas glitz, gospel power, and playful absurdity. From the moment he swaggers onstage in his iconic bedazzled jumpsuit, flanked by glamorous showgirls and surrounded by slot machines, Andrew owns the space with magnetic charisma. And watching Ashley, as Joseph, look utterly baffled by this surreal world of glitz and glamour was the cherry on top.

The ensemble in Joseph is an absolute force — bursting with energy, vocal power, and a delicious dose of camp. From the moment the eleven brothers burst through the audience in “Jacob and Sons,” they’re alive with a cheeky theatricality that never lets up. In “Joseph’s Dreams,” their bitter dramatics are perfectly over-the-top, but then in “Those Canaan Days,” they channel full faux-French ennui with berets, cravats, and exaggerated misery. Andy Macfarlane leads the lamentations and his Apache-style dance break with Bianca Riek is electric. And that endlessly drawn-out “where diiiiiiiid they go” line? Iconic.

Each performer brings something unique, but in the big group numbers, I couldn’t take my eyes off Greyson Vaughn, Lucy Martin, and Perrin Gilbert — their commitment, expressions, and character choices were magnetic. The whole ensemble shines, but those three are scene-stealing spark plugs. Perrin Gilbert (Naphtali and alternate Joseph) delivers “One More Angel in Heaven” with a yee-haw accent and spirit that’s utterly infectious, leading a sparkling hoedown backed by Lucy Martin as a cowgirl angel. It’s toe-tapping, twangy fun at its finest — and another example of how this ensemble handles every musical style thrown at them with ease.

Carey Parsons brings a dual delight as Jacob and Potiphar — giving the former a melodramatic flair (wailing every time Joseph is mentioned) and grounding the latter with showbiz pizzaz. Jasmine Andrews sizzles as Potiphar’s Wife, making the most of a blink-and-you’ll-miss-it role with a sultry, stylised dance solo that oozes confidence and character. “Potiphar” itself is a standout — styled like a golden-age Broadway number, all flapper flair and barbershop bounce, while Leah steals the scene with her commitment to the frantic pace. The dancers whip through the fast choreography and all their quick changes like pros!

Speaking of dancers — the featured sextet of Lucy Martin, Jasmine Andrews, Bianca Riek, Tiahni Wilton, Heidi Haywood, and Natalie Cassaniti are firecrackers. They emerge through the set like disco-dream spirits, glittering in sparkly bralettes and colourful chiffon skirts, lighting up the stage with their beaming faces. In an up-close theatre like Spotlight, there’s no hiding, and these ladies know it. Their faces are always switched on, and it adds so much polish and professionalism to every number they appear in.

“Go Go Go Joseph” erupts in a blur of psychedelic colour, go-go boots, and lightning-fast choreography — the ultimate energy explosion and everything I wanted from this song. If you’re not dancing in your seat by the end, check your pulse because you must be dead. The second act keeps the energy high. “The Benjamin Calypso” is a tropical interlude with Anthony Vitetzakis leading with fabulous flair (and an even more fabulous costume). The choreography here is so vibrant, and I love that Joseph’s attempt to discipline his brothers is met with a full-on dance number. Respect.

And just when you think it’s over — boom! The megamix kicks off: an eight-minute extravaganza of all your favourite tunes. Ending in a literal explosion of confetti, rainbow lights, and pyrotechnics. Ashley and Leah reprise “Any Dream Will Do” with heart and harmony — Ashley’s dreamy, Disney-prince vocals are the perfect send-off to leave the audience beaming. The cast must be exhausted by curtain call, but you’d never know it. Their commitment, energy, and love for what they do never falter.

Design, Direction & Dazzle

The design elements are every bit as dazzling and dynamic as the show itself. Director David Valks’ clever and kinetic set design uses rotating pieces, neon-glittering pyramids, and hand-painted panels to whisk us from ancient deserts to depressing jail cells to full-blown Vegas in the blink of an eye. The ever-revolving set pieces keep transitions slick and snappy, ensuring the energy never dips and the storytelling never stalls. Valks’ direction leans into the joyful chaos of the show, balancing heartfelt moments with tongue-in-cheek humour scattered throughout—like the 'I identify as a camel' cow—had me snorting out loud (and I’m not even sorry).

Lighting by Thomas Bell drenches the stage in every color imaginable. From moody, golden tones in "Potiphar" to haunting backlighting in "Close Every Door," the lighting shifts beautifully with the tone and tempo. Marcus de Toit’s sound design is clean, crisp, and well-balanced — a blessing in a show with so many moving parts and layers. Special mention to the five powerhouse backing vocalists who elevate the ensemble sound with rich, textured harmonies and help fuel the momentum when the ensemble are catching their breath! The music is non-stop and the vocal team of David Valks and Penny Larcombe deserve a standing ovation for balancing the tight harmonies, wild tempos, and ever-changing styles. From the thundering anthems to the melancholic ballads, every number is given the attention it deserves.

Costumes by Nada 'Red' Kulic and Pina Crisafulli Omeros are a glittering delight — a delicious buffet of sparkle, color, and cheeky musical theatre references to add a wink of theatrical inside jokes that the audience will adore (and a loving nod to Spotlight’s costume hire glory). From the pineapple headpieces to the show-stopping Elvis-meets-Vegas Pharaoh look, every costume earns its place in the spotlight.

The choreography, crafted by Jackson Cook and Lucy Martin, is an absolute triumph! Polished and energetic, it matches the show’s genre-hopping score beat for beat. Highlights include the hyper-kinetic ensemble mayhem of "Go Go Go Joseph", the full-bodied hoedown of "One More Angel in Heaven", and the utterly iconic "Joseph’s Coat" — where each colour is spelled out with synchronised movement and gleeful precision, culminating in a jaw-dropping finale where Joseph’s coat stretches across the entire stage like a technicolor tidal wave. It’s like watching a human rainbow come to life!

Extra Magic

The children’s ensemble (I saw the ‘Pharaoh’ cast) from Spotlight Youth Theatre is an adorable inclusion that gently balances out the surrounding adult chaos. It’s always a joy to see community productions create space for future stars — and these kids shine bright. They even open Act Two entirely on their own as they sing the Entr'acte! That said, a gentle reminder to sit up a little straighter, young ones — a few of you were giving hunchback. Remember we can always see you. And to the sweet boy who stifled a yawn mid-song: bless your cotton socks, you’re doing amazing, sweetie!

From high-energy dance numbers and vibrant, glitter-drenched costumes (I loved Joseph's sparkly sneakers) to unforgettable songs (seriously, just try getting “Go Go Go Joseph” out of your head), this show has it all. Spotlight has assembled a seriously talented and cohesive cast who seem to be having the absolute time of their lives. The creative team clearly understands exactly what Joseph is — a colourful musical fever dream that thrives on spectacle, camp, and sincerity in equal measure.

It may have a compact run time — Act 1 is a zippy 40 minutes — but the show packs a punch! It never drags, never dulls. I’d forgotten just how many bangers are packed into this score. Every number is a celebration, and watching it live is the only way to truly experience its magic. If you’ve never seen Joseph live — or if, like my mum, it’s been decades — don’t miss this chance to revisit a classic in all its glorious splendour. It’s a silly, sparkly, self-aware celebration of forgiveness, family, and following your dreams (even if your family throws you in a pit and fakes your death). Side note: if Joseph wants to interpret my dreams, I recently dreamt I was at an actual Elvis Presley concert, but I spent the entire show showering in the dressing rooms. What does that mean?!

If you love theatre, drama, top-tier choreography, killer vocals, adorable kids, rainbows, confetti, and fun (so… everyone, really), Joseph and the Amazing Technicolor Dreamcoat is an absolute must-see. It’s a wildly entertaining, extremely high-quality production that leaves you floating on a technicolour cloud of musical happiness.

Run, don’t walk — and wear something bright!

Tickets available here

Photographs by Clay English (Vargo Studios)