Daily TribuneWhat makes 'Joseph the Dreamer' truly work is its refusal to preach. It takes a well-known Old Testament story and tells it with humor, energy, and clarity.
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Sam Concepcion in 'Joseph the Dreamer.'
Photograph courtesy of Trumpets
The cast of 'Joseph the Dreamer.'
Photograph courtesy of Trumpets
From the opening scene to the curtain call, Joseph the Dreamer by Trumpets is truly enjoyable. Witty dialogue, joyful and energetic Gary V-signature dances, great songs, and lively performances make this production a crowd-pleaser for all audiences.
This heartwarming Bible-based musical comedy stands the test of time. Now on its 36th year (with the original staging in 1989), this was my very first experience of this Christian-based musical, now directed by Paolo Valenciano. And it was unforgettable.
Joseph is alternately played by Sam Concepcion and Jordan Andrews. I saw Sam’s version (he has been playing this role since 2020). His expressive face, good looks, big and bright winsome smile, and gentle presence make him a compelling Joseph. Whether in funny or emotional scenes, he comes across as sincere and believable.
Gary Valenciano plays Jacob, Joseph’s father, almost unrecognizable under all that shaggy, hermit-like costume. He plays Jacob as a slightly eccentric but endearing patriarch—his comic instincts are sharp, always perfectly timed, and never forced. Concepcion and Valenciano are both well-chosen for these roles; their stage presence anchors the production.
What makes Joseph the Dreamer truly work is its refusal to preach. It takes a well-known Old Testament story and tells it with humor, energy, and clarity. The script is funny without becoming flippant, and serious when needed, without being heavy-handed. Also, the decision to make the narrator an actual character, Asenath (Kayla Rivera), is clever. She never spoon-feeds, and the narration is not excessive or expository.
All characters are distinct and memorable. Potiphar (Aldo Vencilao), the official who buys Joseph, is played with flair. Pharaoh (Lorenz Martinez) is riotous as a ridiculous, flamboyant, over-the-top leader who has no clue what his own dreams mean. Flanked by his equally clueless court magicians, this part of the show is laugh-out-loud funny.
The brothers bring chaos and comedy. Despite the awful thing they do to Joseph, the script keeps them entertaining, and their jealousy and foolishness are portrayed with just enough bite and just enough humor. It is like watching a dysfunctional family—or a badly behaved one—unravel. But the script is smart enough that we never lose sight of the story’s important themes.
The musical numbers are all catchy and heartrending. The music delivers, the ballads carry weight, and even the upbeat songs are inspiring. Nothing feels tacked on, as the songs push the story forward. Also, the transitions between dialogue and music are smooth.
Dance is equally a strong element, with MJ Arda’s choreography tight, bold, and full of energy.
Set design is economical but vibrant, with a triangular centerpiece onstage—a smart piece of set design, as it serves multiple purposes. Transitions are fast and scenes are clear, and the use of split staging gives a nice touch, with flashbacks overlapping with present moments, all neatly executed. Its lighting design, including strobe lights, adds emphasis, not distraction.
There is one gag that felt out of place, though. When Jacob tells his sons to praise God, the sons raise their hands and dance awkwardly. It is played as a joke. While clearly done for laughs, it lands oddly. Using prayer as a punchline does not sit right. It feels like it crosses a line, even in a playful show. Nevertheless, it is sometimes redeemed when Joseph is seen praying fervently alone in respectful reverence, hands clasped and eyes closed.
There are obvious creative liberties and embellishments that deviate from Scripture. There is a scene where Joseph is shown hallucinating rather than strictly having prophetic dreams, and another where Jacob speaks about being reunited with loved ones after death.
Still, this play is not about theological precision. It reminds us that through pain, betrayal, injustice, and confusion, we should never look down but trust God’s plan for ourselves and for the bigger scheme of things.
This production shows that even in a biblical story full of pain and hardship, there is room for silliness, humor, hope, and a whole lot of heart. This is definitely one of the most entertaining shows I have seen this year.
