Joseph and the Amazing Technicolour Dreamcoat as presented by Enniscorthy Musical Society

Society Name: Enniscorthy Musical Society

Show Name: Joseph and the Amazing Technicolour Dreamcoat

Adjudicator Date of Attendance: 23/04/2025

Brief Overview of Show and Evaluation of Front of House

Enniscorthy Musical Society’s production of Joseph and the Amazing Technicolour Dreamcoat was a vibrant, imaginative, and delightfully high-spirited staging of this ever-popular musical. From the moment the show began, it was clear that this was a performance brimming with energy, enthusiasm, and a deep understanding of the storytelling style needed for Lloyd Webber and Rice’s iconic score. The choice to combine dynamic choreography, a bright and accessible set, and an engaging approach to characterisation paid dividends, creating a show that was not only enjoyable to watch but also cleverly layered with subtle detail and thoughtful staging. This was a production that both respected the material and reimagined it in clever and context-appropriate ways.

Front of House operations were warm and welcoming. Staff greeted audience members with genuine friendliness, and the general atmosphere in the venue was both relaxed and celebratory. The general sense of community and pride in the production was palpable. It was clear that audience members were arriving not just to see a musical, but to support something of local importance, and this goodwill extended warmly across the footlights. Overall, the tone set by the Front of House team created the perfect entry into a theatrical experience that promised, and delivered, a fun, family-friendly, and joyously performed evening of musical theatre.

Director – Direction and Production

Imelda McDonagh’s direction was vibrant, assured, and full of infectious energy. Her approach to the material balanced reverence with creativity, resulting in a production that felt faithful to the spirit of the original, while still offering fresh and characterful interpretations. The pacing throughout was excellent; scenes moved seamlessly, with musical and choreographic transitions handled fluidly. There was a genuine sense of journey within the storytelling, and that clarity of vision came through in the strong performances from every part of the cast, from leads to chorus.

Particularly notable was the direction of the ensemble scenes, the brothers were a unified but wonderfully diverse group, each with distinct personalities and physical traits. Yet they worked together with a cohesion and rhythm that made their interactions compelling to watch. Numbers such as “Those Canaan Days” and “Benjamin Calypso” were true highlights, executed with both humour and precision. The incorporation of platforms and a catwalk was a smart device, used not just as spectacle, but as a storytelling tool that helped distinguish status and space on stage. The interactions between the narrators, children’s chorus, and principal cast were also beautifully directed, each contributing to a storytelling rhythm that never faltered.

Imelda’s attention to nuance, comedy, and pathos was present throughout, and her command over the theatrical world she created was evident in the confidence of the performances and the tight ensemble work. A highly effective and accomplished piece of direction.

Musical Director – Direction and Orchestra

Kevin Kennedy’s musical direction showcased strong leadership, musicality, and a clear understanding of the tone and stylistic diversity within this eclectic score. The band was extremely well kept together, and tempos across the board were well judged. From the energetic drive of “Go, Go, Go Joseph” to the softer lyrical moments, Kevin maintained control and clarity.

That said, the balance within the sound mix was uneven. The percussion section was a standout, vibrant, tight, and engaging, but the wind and brass instruments were often lost in the overall mix. Despite clearly playing with spirit and gusto, their contribution was too subdued due to technical limitations, and this affected the overall depth of the orchestral sound. It was also unfortunate that the band did not appear to be adequately represented in the PA, which left the orchestration feeling somewhat thin during fuller ensemble numbers.

Vocally, however, the cast were on excellent form. There was a powerful and rich choral sound, with superb harmonies and excellent diction from both the adult and children’s ensembles. The solo performances were delivered with a contemporary pop sensibility that felt entirely appropriate for the score. Kevin’s interpretation leaned confidently into this modern tone, and it was a choice that paid off.

Choreographer – Choreography

James Dobbs offered moments of choreographic intelligence in a production that blended visual flair with comic energy. Many routines were bursting with life and character, showcasing a strong understanding of musical theatre dance and how to tailor movement to both cast ability and dramatic context. There were sections where the choreography brought genuine excitement and laughter, the couple’s dance during “Those Canaan Days” was particularly effective in combining humour with clever staging, flowing effortlessly out of the narrative.

Some routines could have been developed further. It was clear the cast had the capacity to handle more ambitious choreography and pushing them slightly further in these moments might have elevated the visual dynamism of the show even more. “Potiphar” in particular lacked the chaotic cheekiness between Mrs. Potiphar and Joseph the number typically calls for. The bedroom antics, so often a comedic high point, felt underplayed. Although, an interesting and creative touch was the use of flight attendants in this chorus a choice that gave a modern and stylised twist. The “Song of the King” was a real spectacle, both versions performed with gusto. The choreography for the faster reprise was, surprisingly, more intricate. This risk-taking was appreciated, and when it paid off, it did so with considerable style.

Leading Principles – Singing and Acting

Joseph – Richard O’Toole: Richard gave a charismatic and deeply likeable performance as Joseph. His acting choices were thoughtful and grounded, allowing his character to evolve believably from optimistic dreamer to a humbled yet triumphant leader. His stage presence was natural, never forced, and his interactions with the ensemble and narrators were warm and organic. Vocally, Richard brought a distinctly pop-influenced flair to the role, with tasteful riffing and smart melodic choices that modernised the sound without undermining the integrity of the score. A confident and engaging central performance.

Narrators – Michaela White, Maria Forrest, Caoimhe Boyle: This trio of narrators were truly a delight. Each brought a distinct personality to the role, and their interplay was fresh, well-balanced, and funny. Their connection with the children’s chorus was especially charming, adding warmth and accessibility. Vocally, they blended beautifully, capable of strong unison and equally adept at holding harmony lines. There were some lovely moments where they stepped into the action, adding a meta-theatrical element that was witty and well-delivered. A genuinely memorable trio.

Potiphar / Pharaoh – Anthony Jones: Anthony delivered two sharply contrasting and well-executed performances. His Potiphar was clipped, businesslike, and almost absurdly proper, while his Pharaoh was a swaggering, full-blown Elvis impersonation. Both characters were delivered with commitment and skill. His vocal performance was particularly strong, with real power and tone control. A standout performer who demonstrated both vocal and dramatic versatility.

Supporting Roles – Singing and Acting

Jacob – Lorcan Dunne: Lorcan’s Jacob was full of warmth and comic charm. His portrayal leaned into the doting father figure, with lovely moments of humour and familial affection. His chemistry with the sons and particularly his performance in “Those Canaan Days” added heart to the show.

The Brothers; Ruben - Evan Ryan, Simeon - Paul Kehoe, Judah - John Donohoe, Levi - Frank Kehoe, Napthali - Chris Larkin, Issachar - Shane Kirwan, Asher - Richard Mullen, Dan - Evan Roche, Zebulon - Seán Timmons, Gad - Brian Cooney, Benjamin - Niall Martin: This was an exceptionally strong and cohesive group. Each brother had a clearly defined character, and their ensemble work was outstanding. Vocal standouts included Evan Ryan’s confident delivery of “One More Angel” and Paul Kehoe’s hilarious performance in “Those Canaan Days.” John Donohoe brought great charm and skill to “Benjamin Calypso.” Their camaraderie was believable and provided the production with some of its most entertaining moments.

Butler – Richard Mullen, Baker – Naoise Fortune: These smaller roles were handled with care and character. Richard gave a joyful and grateful portrayal, while Naoise’s despair was wonderfully exaggerated and theatrically apt. These moments added colour and comedy to the jail sequences and were well received.

Potiphar’s Wife – Nicola Roche: Nicola brought elegance and seductive charm to the role, but her full potential felt somewhat hindered by the understated staging of the number. There was room here to dial up the comedy and sensuality, which might have enhanced the scene’s overall impact. Nonetheless, her performance was strong and stylish.

Chorus/Ensemble – Singing, Acting, and Choreography

The adult and children’s ensembles were excellent throughout. Vocally, they provided strength, depth, and clarity, with especially good work on harmonies and diction. Their energy never dipped, and they contributed effectively to both scene work and musical numbers. Their commitment and enthusiasm were evident in every number, helping maintain the joyful and engaging tone of the production. With a little more polish in some of the larger dance sequences, this ensemble could reach an even higher level – but their current work already added tremendous value and vitality to the show.

Stage Management and Set Design

The set design was simple but striking, muslin curtains and sandy brick tones gave a sense of both period and place, with strong thematic cohesion. The platforms and catwalk allowed for dynamic blocking and layered storytelling. These were used thoughtfully to emphasise status, space, and movement.

Stage management was focused primarily on the manipulation of the muslin curtains, and this was done with exceptional precision. Timing was tight and perfectly aligned with musical and narrative cues, adding an elegant flow to scene transitions.

Technical – Lighting and Sound

The lighting design was visually rich, using a lovely palette to create mood and highlight narrative shifts. One of the most effective moments was the rainbow ripple during “Joseph’s Coat”, a stunning visual match for the song’s iconic listing of colours. However, FOH lighting left dark spots where the catwalk met the main stage and along the catwalk itself, which created occasional visibility issues.

Sound design had some inconsistencies. The PA lacked the band mix, leaving the overall sound a little thin. Additionally, some cues were missed, and the sound occasionally ran a little hot. A more balanced output would have greatly enhanced the immersive quality of the production.

Visual – Costumes, Hair, and Make-Up

Costumes were one of the production’s standout features. The attention to detail was impressive, with designs that felt appropriate for the biblical setting while still having fun with the show’s more stylised moments. The narrators’ all-white outfits created a clean visual contrast, and the Egyptian costumes were particularly impressive. Hair and make-up were strong across the board, with Pharaoh’s court offering a standout example of theatrical styling at its best.

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

Enniscorthy Musical Society should be extremely proud of this production. It was an imaginative, energetic, and well-paced show with standout performances across the board. With minor improvements in sound balance, lighting coverage, and bolder staging choices in some key comic scenes, this could easily become a benchmark production. The direction, musical vision, and cast commitment were all of a very high standard. This was community theatre at its most joyful, polished, and collaborative – and a wonderful example of what this society is capable of achieving.

Photos by Peter Gaynor Photography