This biblical pageant has four acts, each with its own subtitle, comprising thirteen scenes and eleven settings, with a very large cast.

The play was first produced by Liebler & Company and staged by the author and Frederick Stanhope, with sets by Gates & Morange and incidental music by Arthur Farwell.

As they depart to meet the strangers, Jacob tells Joseph to go with them, but Rachel begs him to stay close to Reuben.

Simeon sprinkles lamb's blood on Joseph's coat to fool Reuben into thinking a lion killed him.

(Curtain) (Scene 3: Jacob's tent, evening) Rachel, Zilpah, and Bilhah prepare the feast to honor Joseph.

Suddenly Reuben enter the tent, a storm starting behind him in the open doorway, as he holds up Joseph's bloody coat.

But Zuleika cannot seduce him; Joseph sees in her sinuous form and shining eyes the serpents in the dry well of Dothan.

(Curtain) Act III: The Dreams (Scene 1: The yard of the prison, toward sunset) Imhotep, Serseru, and Joseph are imprisoned in cells carved into a cliff.

(Curtain) (Scene 2: The great hall in Pharaoh's palace, two years later) Shepset and Khenen discuss Asenath's impending dedication to Neith for life.

They had taken a managerial lease on the massive Century Theatre in 1911 for their spectacle The Garden of Allah, which proved a long-running success.

Their second spectacle at the Century, The Daughter of Heaven (La fille du ciel) by Pierre Loti and Judith Gautier,[3] however, was not well received.

The Century, with its huge stage and numerous floors of dressing rooms served by elevators, was an expensive venue to keep running.

Liebler & Company were glad to get Parker's play, as it made back the money lost on Daughter of Heaven.

After its successful completion, producer George C. Tyler went backstage to distribute $500 in bonus money[fn 4] to the stage hands.

Artist Edward Morange painted a piece of white canvas in the appropriate colors, which costumer Alexander Ramsey fashioned into a coat in time for the evening performance.

[7] Reviewers regarded it as a spectacle,[14] a theatrical production of epic scale more about visual appeal than dramatic themes.

[15] The New York Times reviewer was pleasantly surprised to find the play was entertaining, which they attributed as much to the cast assembled by George C. Tyler, as to the writing of Louis Parker.