Joseph - Derby Youth Musical Theatre Review

★★★★★

There’s something undeniably refreshing about watching Joseph and the Technicolour Dreamcoat performed by a company of young people who seem to understand its mischief, chaos, and charm better than many professional revivals. How is it that a cast aged 11 to 25 can tap so instinctively into the show’s playful heart when recent commercial productions have taken themselves far too seriously? That’s the question I found myself asking as Derby Youth Musical Theatre burst onto the stage with a confidence and joy that proved utterly infectious.

Joseph follows the biblical tale of Jacob’s favourite son, Joseph, whose prophetic dreams spark jealousy among his eleven brothers. Sold into slavery, he endures hardship, imprisonment, and a rather surreal encounter with an Elvis-inspired Pharaoh before rising to power in Egypt. It’s insane storytelling set to Andrew Lloyd Webber and Tim Rice’s genre-hopping score, and delivered at breakneck speed. It’s half parable, half pop-concert, and entirely committed to entertaining its audience for every second of its running time.

The very first thing worth saying is that the vocals across the board are phenomenal. The level of precision these young performers sing with is nothing short of astonishing. Whether trained or simply talented, this cast sings with the clarity and confidence of performers twice their age. The harmonies land, the big ensemble moments fill the auditorium, and every solo feels carefully considered.

Leading the charge is Oscar Drake as Joseph, whose warm, open presence anchors the show beautifully. Instead of leaning into Joseph’s traditional self-aggrandisement, Drake offers something gentler and more inviting, almost like a storyteller guiding us through his memories. He avoids the trap of ego, making Joseph a man of the people, likeable and genuinely engaging.

Alongside him, Hope Lo Monaco delivers a powerhouse performance as the Narrator. It’s a notoriously demanding role: nearly constant vocals, relentless transitions, and the responsibility of carrying the show’s emotional thread —and she handles it with seamless control. Her belt is thrilling, her storytelling clear, and her energy unwavering.

Billy Sweet, doubling as Pharaoh and Jacob, is clearly having a ball. His Elvis-infused Pharaoh is full of cheeky swagger, with the right amount of tongue-in-cheek charm. Ben Mather gives strong character work as Reuben and Potiphar, leaning into the comedy of both roles without ever overplaying them.

The brothers as a collective are a treat. They move as a cohesive unit, but each performer has carved out an identity of their own. Stevie Kirkham (Asher) delivers a genuinely lovely solo, his voice smooth and heartfelt. Taylen Brodsky (Simeon), Riley Chambers (Levi), William Hall (Naphtali), Teddy Osborn (Issachar), Dan Pimperton (Dan), Findlay Parker (Gad), and Eddie Clarkson (Judah) all bring enthusiasm and clear character choices, ensuring every scene feels alive. Finley Williams (Zebulun) arguably gets the biggest laugh of the night thanks to one perfectly timed upside-down dance moment. Meanwhile, Quillen Parker as Benjamin shows utter commitment, making his moments pop with bold choices.

Supporting roles add lovely texture throughout the show. Tia Louise Shaw as Reuben’s Wife makes every second count, fully embracing the absurdity of her moments. Bella Syson (Butler) and Lilliana Simons-Clark (Baker) shine in their cameo scenes.

One of the joys of this production is its playful spirit. DYMT have leaned into the musical’s inherent chaos, rather than smoothing it out. Joseph is not a show that benefits from being polished into seriousness; it should feel like a crate of powder-paint exploding, and here, it does. This is a group that isn’t afraid to embrace the show’s joyful weirdness, and that may well be the production’s greatest triumph. Every musical number receives the same care and attention; nothing is phoned in, nothing treated as filler. It feels democratic in the best possible way.

Choreographically, the production is impressively ambitious. The movement is far more complex than one would expect from a youth company, and frankly, more polished than several professional ensemble tracks I’ve seen this year. The dancers attack each number with gusto, and the routines remain tight even at high velocity.

Visually, the show presents bold decisions. The sets and costumes veer toward the bizarre at times—giant pink camel included—but surprisingly, it works. The eccentricity suits the material, and the playful puppetry adds lovely moments of spectacle. The lighting design makes particularly strong choices; bursts of colour and unexpected shifts create a discotheque vibe amongst the Middle Eastern deserts.

By the time “Any Dream Will Do” returns in its triumphant reprise and the Megamix kicks into gear, the audience is fully clapping, cheering, and swept up in the kaleidoscopic joy of it all. A nice reminder that enthusiasm, dedication, and honest fun can outshine even the biggest budgets. Derby Youth Musical Theatre have delivered a joyful, high-octane ride through one of musical theatre’s most beloved shows—one full of heart, talent, and irresistible charm.

Catch it if you can. You’ll leave with the songs stuck in your head, the colours still swirling behind your eyes, and, if the cast have their way, a renewed belief that any dream will do.