Hale’s JOSEPH Delivers Plenty of Color, Heart, and Fun Surprises

SANDY – I’ve seen Joseph and the Amazing Technicolor Dreamcoat dozens of times across Utah over the years. I adore Andrew Lloyd Webber‘s score, and it remains one of the most entertaining family musicals ever written. But because I’ve seen it so often, I always walk into a new production asking one question: What are they going to do to make it feel fresh?

Of all the musicals regularly produced in Utah, Joseph probably lends itself to more creative liberties than almost any other. Including wildly imaginative productions and others that play everything straight down the middle. While a traditional approach certainly works, it can also feel a little predictable. On the other hand, recycled “creative” ideas can become just as stale. The best productions strike a perfect balance between slapstick comedy, heartfelt sincerity, and inventive storytelling.

Editor’s Note: Production Photos have not yet been received by UTAJ. When they are, they will be added to this review. 

Hale Centre Theatre‘s production, under the direction of Jennifer Parker Hohl, largely succeeds at finding that balance.

When watching Joseph, I subconsciously judge it on four criteria.

First, does the production bring enough fresh, surprising ideas? Second, can Joseph absolutely knock “Close Every Door” out of the park? Third, does the Narrator deliver “Pharaoh’s Story” with powerhouse vocals? And finally, when Joseph reunites with his family at the end, does the emotional payoff actually move me to tears?

Thankfully, Hale checked most of those boxes.

Without giving away too many surprises, the production features several genuinely clever moments. The Potiphar scene features a unique staging concept and superb creativity to make for a very humorous stage moment, and it’s worth experiencing without spoilers. Later, “Go, Go, Go Joseph” becomes one of the evening’s biggest visual spectacles, earning one of the loudest audience reactions of the night.

A few more unexpected creative choices woven throughout the production would distinguish the production further. A handful of familiar gags are common across many Joseph productions, and a few jokes linger just a bit longer than necessary. Even so, the overall presentation still feels fresh enough to keep longtime fans engaged.

As Joseph, Zack Wilson delivers exactly what the role requires. His warm stage presence captures Joseph’s sincerity, loyalty, and quiet humor throughout the evening, but it’s “Close Every Door” where he truly shines. Wilson sings the number with remarkable emotional depth and effortless vocal control, building to those soaring notes that give audiences goosebumps. It’s easily one of the production’s highlights.

The lighting design by Jaron Kent Hermansen elevates the moment even further. Rather than relying on physical scenery, Joseph’s prison cell is created entirely through strategically placed beams of light that resemble prison bars. As Joseph is freed, the lighting beautifully transforms to suggest the cell door opening. It’s a simple but incredibly effective theatrical moment and one of the strongest visual effects in the production.

Adrien Swenson is equally outstanding as the Narrator. She brings infectious energy to every scene, frequently breaking the fourth wall with playful audience interaction and well-timed comedic asides. Her entrance for “Pharaoh’s Story” is spectacular, descending from above in a Glinda-inspired bubble before launching into what may be the strongest solo vocal performance of the evening. Her voice soars through the song’s thrilling finale with confidence and power, making it one of the night’s biggest musical highlights.

Bryan Matthew Hague completely takes over the spotlight as Pharaoh in “Song of the King.” The Elvis-inspired sequence is often a favorite part of Joseph, but Hague takes it to another level. His charisma, comic timing, and commanding vocals make this scene an absolute showstopper.

The emotional climax also lands beautifully. When Joseph finally reveals himself to his brothers and reunites with his father, Hale wisely lets the moment breathe. The themes of forgiveness, reconciliation, and unconditional love resonate deeply, and yes—it earned a few tears from me.

The cast playing the brothers bring plenty of energy throughout the production, particularly in favorites like the country-western inspired “One More Angel in Heaven,” the French-eque “Those Canaan Days,” and the Caribbean infused “Benjamin Calypso.” Their harmonies are strong, the choreography is lively, and the ensemble performs with enthusiasm throughout. While these numbers are enjoyable, they could lean even further into the comedy to maximize their comic potential.

Choreographer Lindsay D. Smith keeps the production moving with energetic dance numbers, while Ramsi Nia Stoker‘s aerial choreography adds an unexpected Cirque du Soleil flair. The aerial performers are simply spectacular, bringing breathtaking visuals to several production numbers.

Jen Caprio‘s costumes are equally vibrant, featuring colorful contemporary touches that blend surprisingly well with the biblical setting. One particularly memorable costume even includes bright yellow Converse high tops—exactly the kind of playful detail that fits this show’s whimsical personality. Of course, Joseph’s famous coat is every bit as dazzling as audiences hope it will be.

Scenic designer Nate Bertone takes a noticeably simpler approach than some previous Hale productions. Much of the visual storytelling comes from illuminated rolling cubes that transform throughout the show. While they create some striking stage pictures, there were several moments where the platforms appeared unstable as performers danced and jumped across them.

In fact, one technical issue briefly paused the performance while crew members secured one of the units. Credit goes to Swenson and the entire cast for handling the interruption with complete professionalism. Swenson effortlessly entertained the audience, even beginning the next number a cappella before the audio track was fully synchronized. It was an impressive display of live theatre at its best.

There were a few technical elements that occasionally distracted from the experience. Stagehands entered the playing space more often than necessary moving props when ensemble choreography could have incorporated the movement. At times, the prerecorded accompaniment overpowered the singers, and a few musical tracks didn’t always provide the strongest rhythmic support for the performers.

One critique extending beyond this production is Hale Centre Theatre’s continued absence of printed playbills. With premium ticket prices, a traditional playbill, or even just a one page handout would be appreciated as a non-digital reference during the performance and as a keepsake afterward.

Even with these minor frustrations, Hale Centre Theatre has delivered another highly entertaining production. It balances humor, spectacle, heartfelt emotion, and terrific performances while finding enough fresh ideas to keep one of Utah’s most frequently produced musicals feeling alive.

For longtime fans of Joseph and first-time audiences alike, this colorful production proves there’s still plenty of magic left in the amazing technicolor dreamcoat.

Editor’s Note: This reviewer attended a performance on Wednesday, August 5th. This show is double cast with alternating actors on Mon, Wed, Fri & Tues, Thurs, Sat. This review covers the Mon, Wed, Fri cast.