Stage Review - Joseph and the Amazing Technicolor Dreamcoat (Taproot Theatre)

Stage Review - Joseph and the Amazing Technicolor Dreamcoat
Presented By: Taproot Theatre - Seattle, WA
Show Run: July 08 - August 15, 2026
Date Reviewed: Saturday, July 11, 2026 (Opening Weekend)
Run Time: 2 Hours (including at 20-minute intermission)
Reviewed by: Breanne Jensen

After suffering a horrible theft of the copper wire from their HVAC system, only a few short months ago, Taproot Theatre opened their air-conditioned doors to an eager audience at the Saturday July 11th, matinee! Thankfully to the gracious arts community, Taproot was able to raise enough funds to replace their HVAC system entirely in the nick of time for their summer kid’s camps and this production of “Joseph and the Amazing Technicolor Dreamcoat”. As my aunt and I settled into our seats with our cute themed mocktails we discussed the last time we had each seen this production and lamented how it had about fifteen years ago. Completely reimagined by this creative team of geniuses, neither of us expected the revived version we were about to experience.  “Joseph”,  at Taproot Theatre, takes place at camp dreams. Each song, setting and story felt as if the audience was watching/part of a camp talent show or within a real-life episode of Veggie Tales!

The set(s) of camp dream (scenic designer: Mark Lund, scenic carpenters: Garrett Dill & Jaime Tapia, scenic charge artist: Mark Lund, scenic artist: Jaiden Clark, scenic strike/load-in: Desirae Brownlee, Greg Moore, Brien West) are designed to be minimal yet highly effective, creating entirely new worlds from one scene to the next. Prison bars, the wild west, camp PE class, camp talent shows, famished desert lands, lavish palaces and then some, meant there was not a moment that the sets, colors, sprinkles of modernization and the kind atmosphere created, completely captivated the audience and their attention. The lighting (lighting designer: Ahren Buhmann, programmer: Matthew Ray, board operator: Aurora Asay, master electrician: Aiyana Stephens & electricians: Morgan Poirier, Matthew Ray, Madeline Rush) matched in versatility to expand one’s imagination, that during Joseph’s story, you the audience, were right there next to him, creating an intimate environment. The colors were bright and intentional while also adding disco party vibes for the mega mix at the end of the show. My favorite lighting moment was during the musical number “Close Every Door” while Joseph is imprisoned, and projected on to the proscenium is a window that has rays of light bouncing off the projection on the wall and imitates a cathedral window effect that was just a beautiful addition to that big emotional moment. The sound overall was incredible with the mic balance to the band never once overshadowing, drowning out the actors or having an imbalance. The mixture of using specific sound effects for the mics to exacerbate more serious moments was a smart idea and the sound crew (sound design: Mark Lund, sound technician: Kyle Thompson, sound board operator: Mya Woods) should be so proud of how clean and precise every technical moment was executed. A big round of applause to all technical elements of the production, making it all look so effortless.

The casting, choreography and costuming were a trifecta fit to be tied! As I mentioned, when creating this show, the setting is a camp, however, the way that director Bretteney Beverly, assistant director Jimmy Shields and casting associate Pilar O’Connell cast this show, lent for an unshakable pillar of talent that invented something new, fresh and relevant. Beverly and associates imagined a show in which the parents, the grandparents, the kids, the neighbor, the postman alike can all relate and understand the biblical story being told without making it overly religious or redundant in theme. Minor lyric changes allotted for some cheeky moments if you were listening closely or quickly enough. Each song featured a soloist performer with a different timber to the music, for example, the song “Those Canaan Days” during the famine was executed with a Parisian sound while the actors are all wore berets and fought over rations (aka s’more fixings - another very clever idea). From a tango tune, Caribbean jam and even a Parisian lament each moment left you wondering what theme or fun idea would come next! The instruments, band/ vocal alike, on display (music directors: Paul Stovall and R.J. Tancioco) become more and more impressive as each song continues on. Every performer and band member could have their own song or switch with anyone else and bring their own strength and style to it!

The costumes (designer: Erica Manzano, dressers: Katy Morrison & A. Stephenson, draper: Martha Mitchell, stitchers: Scian Hayes, Veronica Dimoff, Emma Eisenmann, wig specialist: Jaclyn Deshaye, wig designer: Juliette Lewis) start off with modern and adorable camp dream shirts and shorts for everyone and later turns into some really gorgeous individual and group pieces! The tango dress (worn by Cherisse Martinelli), the Elvis like jumpsuit and James Brown style wig for Pharoah (worn by Tarquinn White) and backup singer/dancers for the Pharoah were stand out moments in a show with a million changes and not a piece on stage was out of place. Joseph’s coat, however was really special not just visually or by vibrancy, but because it becomes detachable and breaks into small scraps which felt like an extra level to the reimagining of this show. Whilst reading the director’s bio in the program, I also read and thought it was worth mentioning, that some of the cast members wrote down their dreams and the creative team put those hand written dreams on to Joseph’s coat. Note for all creatives out there; the small details are always what makes an idea or decision stand out in a show and is what makes a production like this one, so special. The glitter sprinkled on top of this wonderful show was the choreography created by Charlie Johnson. I haven’t ever seen a production of “Joseph” where there was so much dancing and movement, constantly. The levels of technical aspects that were performed with such ease mixed with intermediate movement for the less technical dancers were equal in visual ease and execution. There wasn’t a moment on stage that wasn’t accounted for or space that wasn’t used perfectly and every phrase created its own story.

The props (Cat Kerr) were some of the biggest undertakings with a prop in every single scene which also added to that camplike element. The cardboard camels that the youth ensemble wore as well as the golden cup of Joseph’s, were both so inventive and visually enticing as if they are the most upscale arts and crafts camp project you have ever witnessed (truly so good!). The youth ensemble (Sabrina Berger, Aidan Bruce, Noa Love Kim, Robyn Le, Emily Mozgovaya, Emersyn Naughton, Mae Pagoaga, Marilyn Jean “MJ” Ross, Nari Sin and Gavin Weston) presents just as strong, talented and professional as their principal cast members, never missing an entrance and singing gorgeous harmonies in the back of the house that blended beautifully. A wonderful job to their amazing supervisor Sade Aset and the entire stage crew (stage manager: Clara King, assistant stage manager: Ethan Swim, stage crew swings: Amanda Costinett and Sam Williamson) who hold it all together and coordinate every moving part of the show and this is an extra technically challenging show!

The meat of the production that truly bring it to life are the cast and the community/ comradery that they bring to the stage. CJ Lorentz (Joseph/dance captain) embodies Joseph’s annoyingly good-natured, optimistic and youthful charm while also bringing stunning vocals to match. Lorentz leaves no vocal, dance or acting stone unturned and switches so effortlessly between vocal stylings. CJ Lorentz’s performance was unforgettable, lasting, impactful and a true form of storytelling. After the show, my aunt and I happened to run into CJ and their spirit was just as kind off stage as perceived on stage. Our story telling ship pulls into port with Narrator and rockstar, Cassi Q Kohl (Kohl performances: 7/8-8/8, Cayman Ilka narrator performances: 8/12-8/15) who has the most beautiful and impressive vocal agility, hilarious and engaging expressions, comedic gold timing and is pure and utter enjoyment. Any time I get to see a production that has Kohl aboard, I’m onboard too! Danny Kam (Reuben, et al) brings vocal gold to every character he plays and his talent is as tall as he is. Keoni Dilay (Potiphar, Joseph U/S, dance captain, et al) shines in every scene he dances in and his Potiphar performance is sultry and silky and reminded me so much of (a very tall) Prince during his number. Hannah Schuerman (Simeon, et al) gave my favorite performance of the show with “Those Canaan Days”. Schuerman’s vocals are a mix of Broadway belt, folk and yodel all melded into a masterpiece that matched her melodramatic, cigarette smoking, French vocal pantomime of sorts. Her performance was equally entertaining, professional and hysterical. Tarquinn White (Pharaoh, et al) is perfectly cast in his role as this ruler, demanding the attention of every audience member, cast member and note available in the house. White’s performance kept upping itself phrase after phrase in both vocal brilliance and energy leaving me exhausted and impressed. Chailia Wendland (Naphtali, et al) always brings excellence and reminds everyone what a triple threat looks like. Wendland brings a different character or persona to each scene, her dancing is precise, effortless and infectious and my only complaint is that I didn’t get enough of her voice in this show! Cherisse Martinelli (Mrs. Potiphar, narrator U/S, et al) commands the entire energy in the room as Mrs. Potiphar while performing with Joseph and brings the spice. In every song she is on stage for (pretty sure its almost all of them) her energy never once waivers, her facial expressions never disappoint and her vocals and dance are poised and polished. Last, but certainly not least Elijah Yale (Jacob, Baker, et al) is the chameleon of this production. Yale brings physical comedy to every role becoming seamless in the art of being an incredible character actor. Yale’s tenor voice is striking and gorgeous leaving your ears happy and your face smiling.

Taproot theatre’s production of “Joseph and the Amazing Technicolor Dreamcoat” lives up to its name, amazing and technicolor! The cast, crew and designs are perfected in every alley and the creative teams bring an old story and outdated production to modern day life that creates fun for the entire family. The setting of camp dream allows for the audience and likely the cast/crew to feel that they are part of a community when attending this performance. Community is the center of art. Community is what brought the love for this organization together to help rebuild the funds for the HVAC system, so that Taproot can creatively pour back into the communities’ cup and fill our hearts and souls. From the entire concept, all technical aspects, visually stunning costumes, effective props, kind and talented cast members/ employees, Taproot Theatre’s foundation is unshakable, their trunk deeply rooted. When we all come together, in kindness, love, light and understanding, that is when “any dream will do”, comes true.

Joseph and the Amazing Technicolor Dreamcoat runs on stage at Taproot Theatre through August 15. For more information, including ticket availability and sales, visit https://taproottheatre.org/.

Photo credit: Giao Nguyen