Joseph and his Amazing Technicolor Dreamcoat as presented by Kilmacud Musical Society

Society Name: Kilmacud Musical Society

Show Name: Joseph and the Amazing Technicolour Dreamcoat

Adjudicator Date of Attendance: 08/04/2025

Brief Overview of Show and Evaluation of Front of House

Kilmacud Musical Society’s production of Joseph and the Amazing Technicolour Dreamcoat was a vibrant and earnest interpretation of this beloved Andrew Lloyd Webber classic. With its rich musical numbers, colourful characters, and continuous storytelling, Joseph presents both exciting opportunities and complex challenges for any amateur company. The society embraced the show’s playful spirit and inclusive energy with clear commitment, community spirit, and affection for the material.

Director – Direction and Production

Steven Halion took a gentle and straightforward approach to direction, crafting a production that prioritised clarity and inclusivity. The narrative was easy to follow, and the introduction of the narrator “trainees” was a clever concept that brought a fresh angle to the traditional storytelling device. While this subplot offered humorous and engaging moments, particularly in the interactions among the narrators, there was a sense that the 'exam' gag was extended a bit too far, occasionally stalling momentum and becoming somewhat repetitive.

Some fundamental aspects of stagecraft would benefit from greater attention in future productions. For instance, eye lines often dropped too low, an especially noticeable issue in a raked auditorium. Additionally, transitions between scenes were not always fluid, with some missed opportunities to use the set’s platforms more dynamically to help express the physical journey of the characters. Greater coordination between the direction and stage management teams could improve pacing, particularly in the handling of crossovers and key exits.

That said, Steven fostered a positive, ensemble-focused spirit that permeated the production. His inclusive direction allowed performers of all ages and experience levels to contribute meaningfully, which is no small achievement and one that was clearly appreciated by the audience.

Choreographer – Choreography

Rachel Sheahan’s choreography was one of the production’s strongest assets. Though it leaned towards the simpler side, the routines were thoughtful and clearly tailored to the wide age and ability range of the performers. This resulted in choreography that felt inclusive, accessible, and joyful.

Every movement sequence was performed cleanly, demonstrating that substantial rehearsal had taken place. While there were certainly a few cast members with the ability to take on more complex steps, the overall choice to level the choreography served the production well in terms of unity and clarity. The real success lay in the way everyone looked comfortable and happy on stage.

The Pharaoh’s number stood out as a particular highlight. Full of inventive and stylised movement, it struck a delightful balance between humour and precision. The choreography here complemented the characterisation perfectly, and the audience’s response suggested that this number hit the intended mark. Rachel’s contribution brought cohesion and vitality to the show, and her choreography undoubtedly helped bring energy to scenes.

Leading Principles – Singing and Acting

Joseph – Liam Mackessy: Liam delivered a calm and centered performance in the titular role. While his portrayal was on the safer side emotionally, there was a quiet strength to his stage presence. His voice had a raspy tone that gave Joseph a slightly more mature and grounded feel, suiting the character’s evolving emotional journey. Greater dynamic variation and risk-taking in his vocal phrasing and character arc would have added depth, but Liam’s consistent performance provided a stable core to the production.

Narrator 1 –Narrator 3 plus 2 more narrators–The dynamic between all three narrators was a delight to watch. Their blend, both vocally and in performance style, was well-matched and carried the story with clarity and humour. The concept of “trainee narrators” trying to join the action was amusing and often effective.

Susan Kane committed fully to the role of the unsure trainee narrator. Her performance was sweetly comedic without becoming overplayed. Her voice blended well with the others, and her body language was effective in communicating her character’s learning curve.

The Brothers The ensemble of brothers (Ruben - Ray Bissett, Simeon - Daniel Seery, Levi - Finbarr O’Leary, Napthali - Anna Conroy, Issachar - Gary Graham, Asher - Rachel Brady, Dan / Potiphar - Alan Early, Zebulon - Carl Mageean, Gad - Lillian Foley, Benjamin - Jackie Drew, Judah - Mary B Dunphy) worked superbly as a unit. Their camaraderie was evident, and their vocals were generally well blended. The choice to include female voices among the brothers was unusual but handled with ease, it in no way detracted from the ensemble’s cohesion or believability.

Ray (Ruben) gave a strong rendition of “One More Angel in Heaven,” with a pleasant mellow tone and assured delivery.

Daniel (Simeon) was expressive and humorous, especially in his “French” number, his characterisation was clear and well developed.

Alan (Dan/Potiphar) gave a wonderfully comic performance as the jealous businessman, and handled his double duty with flair.

Mary (Judah) was particularly touching in scenes with Benjamin, showing a genuine care and concern that added depth.

Supporting Roles – Singing and Acting

Jacob – Billy Andrews: Billy brought a warm, gently humorous energy to the role of the father. He convincingly portrayed Jacob’s frailty while also showing genuine delight in his many wives. A lovely character performance.

Pharaoh – David Supple: One of the show’s highlights. David fully embraced the Elvis parody, with an excellent accent, confident vocals, and commanding stage presence. This scene always earns a big reaction, and his portrayal delivered.

Mrs. Potiphar – Sue Neary: Sue embodied the sultry wife with confidence and cheekiness, though the staging could have allowed more space for her to shine in the seduction scene.

Butler – Zarah Doyle & Baker – Joyce Neary: Both gave lively and committed performances in these small but important roles. Their vocals were clear, and they each brought character and energy to the prison scene.

Chorus/Ensemble – Singing, Acting and Choreography

This was a committed and spirited ensemble. Their energy and enthusiasm were apparent throughout, and it was lovely to see such a range of ages and experience levels represented. The society clearly fosters a welcoming and inclusive environment.

Vocally, the chorus sounded somewhat sparse in places, which may be down to mic issues or balance problems in the mix. Entrance cues and cut-offs were occasionally ragged, and with such a well-known score, these small inaccuracies were noticeable. Acting from the ensemble also veered into the exaggerated at times; background acting sometimes felt a little forced. Some drama workshops focusing on subtlety and realism could be valuable to raise the overall standard. Nonetheless, their heart was never in question, and the joy they exuded made for an engaging experience.

Stage Management & Set Design

The static set was an excellent choice for this production. Its simplicity allowed for imaginative staging, and the beautiful projections added flair without becoming intrusive. Each location was clearly and creatively rendered, this element was one of the production’s great successes. Small scenic pieces were well built and generally painted with care. For future productions, attention to detail, such as painting the bases or finishing joins, could elevate the overall aesthetic. 

The stage management team were visible, though this appeared to be a deliberate choice. They moved a bit slowly at times, which interrupted momentum. Closer collaboration with the director would help ensure important exits or entrances (such as Potiphar’s) are not lost during transitions.

Technical – Lighting and Sound

Lighting was among the production’s greater achievements. Special cues were precise, and visual compositions were often stunning. “Close Every Door” was particularly well-lit, with a striking decision to light Joseph only from behind and sides, creating an atmosphere of isolation and vulnerability.

Sound, however, was a weaker point. Issues included absent microphones during key introductions, questionable balance in the mix, and what felt like missing instrumental elements. This improved slightly in the second half, but several numbers suffered from a lack of vocal clarity or blend. Ensuring that all microphones are active, and that the full score is audibly represented, should be a top priority in future productions.

Visual – Costumes, Hair and Makeup

Costumes were bright, fun, and appropriate to the style of the show. The technicolour coat was particularly effective, especially under UV lighting. The use of embroidery reminiscent of Irish dancing costumes gave a unique and memorable visual flair. One minor criticism was the anachronistic choice to costume the Potiphar’s in 1950s rather than 1920s attire, which visually jarred with the rest of the production’s aesthetic.

Hair and makeup were well executed, simple, clean, and effective across the board. 

Adjudicators suggestions/ comments- overall comments on the production and comments to enhance the standard for future performances.

This was a warm and joyful production that celebrated inclusivity and community spirit. While there were several technical and musical issues that impacted the smoothness and polish of the performance, the heart and humour of the piece shone through. Future productions would benefit from deeper musical preparation, sharper stagecraft, and enhanced backstage coordination.

Nevertheless, Kilmacud Musical Society should be proud of their work. They created an evening full of colour, laughter, and enthusiasm, values that lie at the very heart of Joseph and the Amazing Technicolour Dreamcoat.