AMERICAN FORK — Few musicals are as instantly recognizable or as universally embraced as Joseph and the Amazing Technicolor Dreamcoat. With music by Andrew Lloyd Webber and lyrics by Tim Rice, the show transforms the ancient story of Joseph from the book of Genesis into a kaleidoscopic romp through musical styles and sibling rivalry. The production, staged by Timpanogos Community Theatre at the Valentine Theatre, tapped into that joyful spirit with a vibrant, high-energy presentation that leaned fully into the show’s strengths: fun, heart, and full-company commitment.
From its opening number, the production struck a balance between narrative clarity and musical flair. A children’s chorus, arranged in a pair of angelic choirs on opposite ends of the stage, set the tone as the narrator, played by Brandy Taylor, launched into “Prologue.” Taylor anchored the production with a resounding voice and steady stage presence. She played the role with a grounded sincerity, providing a calm center around which the rest of the show’s madcap energy orbited. Rather than playing the narrator as flamboyant or overly theatrical, Taylor opted for subtle strength and warmth—a choice that helped tie the varied episodes of Joseph’s journey together with cohesion.
Austin Simcox stepped into the rainbow coat as Joseph, bringing a resonant richness to his voice and an inviting stage presence. Particularly in “Any Dream Will Do,” Simcox’s demeanor recalled that of a trusted teacher or storyteller, which makes sense given his real-life background in education. His interpretation felt sincere and heartfelt, which helped give emotional weight to the journey from favored son to forgotten prisoner and finally to powerful leader.
Director Chip Brown’s staging smartly emphasized ensemble storytelling. One of the production’s strengths was how it gave each of Joseph’s eleven brothers moments to shine. Even in numbers like “One More Angel in Heaven” and “Those Canaan Days,” the blocking allowed for shared focus and genuine interaction, with clever double casting letting some performers appear in multiple roles, including Pharaoh, the Baker, and Potiphar. These choices not only streamlined the show but added to the playful, community-driven atmosphere that defines local theater at its best.
A particular highlight was the children’s choir—roughly a dozen enthusiastic performers—who were used throughout not just as singers but as interactive, joyful participants. Whether dancing in the aisles, waving lights, or joining in moments of comedy, their involvement expanded the show’s emotional palette and helped blur the line between audience and performer in a charming way.
Rebecca Fenton’s costumes blended classic elements—Canaanite robes, head wraps, and Egyptian-inspired accents—with modern textures and styles such as jeans and more contemporary clothing that were enriched by the details. This stylized approach, far from being distracting, made the production feel like a big, inclusive storytelling session—a community gathering where everyone had raided the costume bin and thrown in their flair. That spirit extended to the audience itself: the company’s “Calypso Night” on June 21 encouraged attendees to dress in colorful floral prints, creating a shared atmosphere of celebration and helping the show spill beyond the proscenium.
The technical aspects were strong as well, with Caleb Wallengren’s lighting design serving as a notable standout. LED tape built into the set, key lights, and transitions were sharp, and the actors made full use of the lighting design—something not always guaranteed in community theater, where hitting your mark under the lights can be its own challenge. Here, the lighting worked in tandem with the direction and choreography to elevate key storytelling beats and support the emotional arc.
I think the only nit to pick about the evening’s performance is that Joseph is delightful in part because the storytelling is so tight. The smash musical – which began as a short fringe piece before developing into a one-act, concept album, and then full blown high scale production – is a tight 75 minute show. TCT started promptly at 7:30 and even with some additive pieces and making full use of the Megamix at the end of the show, the run time was right around 80 minutes. However the show’s momentum was stopped by a 15 minute intermission in the middle. I understand the desire to sell concessions, and the traditional nature of intermissions, but this felt like a show where if one was needed, it could have been shorter than 20% of the run time.
Joseph is a classic and commonly on Utah stages for many reasons. Utah’s history draws heavily from a people who connect at the deepest spiritual levels with Joseph of old. The play is a romp, and beautifully blends the worldliness of Elvis impersonating Pharaoh and the deep yearning of someone who dreams and believes in promises that have yet to come to pass. The show is about reconciliation, peacemaking, and doing so in uproarious and exuberant fashion. Timpanogos Community Theatre embraced those elements wholeheartedly, producing a family-friendly, participatory, and high-energy performance that reflected the community it came from—full of commitment, color, and camaraderie.
