The biblical story of “Joseph and the Coat of Many Colors” comes vividly to life on the Ardmore Little Theatre stage in the group’s latest musical production.

The biblical story of “Joseph and the Coat of Many Colors” comes vividly to life on the Ardmore Little Theatre stage in the group’s latest musical production.

Although the show is a familiar one, you can bet Andrew Lloyd Webber and Tim Rice had no idea the humorous twists and turns director Courtney DiBello would create in her vision of their musical  “Joseph and the Amazing Technicolor Dreamcoat.”

In true DiBello fashion, the director has put together a stellar cast and created some spectacular choreography for the show that is performed in the present day instead of period costuming. The reason is, this show starts as a bedtime story told to Sunday school students, enlisting the talents of the local choir and clerics.

From the opening number, the show captivates audience members. Their first introduction to the story is through the splendid musical talents of Gina Quary, who plays the narrator.

Quary’s impressive, trained soprano voice is put through all sorts of hoops in her tale-telling, and she handles them all with ease.

Her clear, crisp voice is a familiar, comforting presence throughout the show, giving the audiences a first-hand look at the action unfolding before them.

Corey King comes back to the ALT stage as Joseph. Last seen locally as Jesus in “Jesus Christ Superstar,” King once again proves his creative abilities as he wraps himself in the character as tightly as the character clings to his beloved coat. King brings a spark of enthusiasm and wit to his scenes, which makes the story even more fun to watch.

But these aren’t the only stars of the show. “Joseph” offers plenty of opportunities for other cast members to shine.

Right away, the audience is enamored by Joseph’s band of brothers. Even though these “villains” want to rid themselves of Joseph’s egotistical presence, they immediately grab the audience’s attention and affection with their hysterical antics. Before it’s all over, practically everyone will want to be a brother.

For her show, DiBello uses a variety of  storytelling tools to move the action along — role playing, puppets, sign language and plenty of props. Fred Collins and Monica Stolfa don sock puppets in their roles as Potiphar and his wife, giving a whole new hysterical dimension to the seduction scene. It’s amazing how their creative hand movements can spark humor and laughter.

Brian Gunter gets his turn in the spotlight as Pharaoh, or more appropriately — the King! There is no doubt Gunter makes a better Elvis than the real thing, gyrating and sparkling through his scenes.

The brothers get plenty of fun in a variety of musical styles. Randy Simmons offers his best southern accent in the song “One More Angel.” And Steve Brandenburg turns in a colorful French accent with the brothers as they dance the can-can in choir robes while lamenting about missing their long-lost brother.

Nate Durbin shines in the show-stopping “Benjamin Calypso” number, contorting his “wet noodle” body in perfect rhythm while defending his baby bro from a theft charge.

Austin Powell and Brian Edge as Joseph’s jail mates musically seek his interpretation of their dreams. And J. Robinette Smith as Joseph’s dad Jacob, turns on the waterworks while lamenting his son’s “death.”

The show is also aided by the talents of a group of youngsters in PJs who use a variety of props to give visualization to the dreams Joseph has throughout the show.

The up-tempo numbers in “Joseph” get an extra boost with some frenetically choreographed dances that keep the audience members on the edge of their seats and emotions running high.

Kudos also go out to vocal director David Hobbs, pianist Andy Price and orchestra director Doug Hansen for their magnificent musical contributions to this comical, uplifting, “amazing” show.

This production should be watched over an over because it’s impossible to catch all the action the first time.