Joseph and the Amazing Technicolor Dreamcoat Dazzles Johannesburg with Bold New Revival

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It’s loud. It’s fast. It’s absolutely ridiculous. And I loved every single second of it.

Now showing at Pieter Toerien’s Theatre at Montecasino following a sold-out Cape Town season, Joseph and the Amazing Technicolor Dreamcoat has made its Johannesburg debut with all the bedazzled bravado and high-octane camp it can muster—and trust me, that’s a lot. This is Joseph reimagined, recharged, and ready to party, thanks to the powerhouse team of Anton Luitingh, Duane Alexander, Charl-Johan Lingenfelder, and Amy Campbell, who’ve transformed a nostalgic classic into a kinetic, kaleidoscopic theatrical sugar rush.

On a personal note—this show means more to me than I can fully explain. I saw Joseph and the Amazing Technicolor Dreamcoat for the first time back in 2016, and it was that very moment that I fell head-over-heels in love with the world of theatre. The music, the movement, the magic—it completely shifted something in me. So walking into the theatre again, almost a decade later, brought with it a tidal wave of emotion. This production didn’t just live up to that memory—it surpassed it.

Dylan Janse van Rensburg, in the titular role, is pure charm and charisma. His vocals are crystal clear, his movement effortless, and he somehow manages to radiate humility and star power all at once. He doesn’t just play Joseph—he is Joseph, and his rendition of Close Every Door is genuinely goosebump-inducing. Dylan is a powerhouse of commanding the stage with such ease while making sure everyone around him shines equally as bright as he does himself.

Then there’s Lelo Ramasimong. If the Narrator role was ever in doubt, consider it officially redefined. She struts, belts, side-eyes and guides with the kind of stage presence that makes you forget anyone else is on stage—until she graciously shines the spotlight back on them. Her voice has no ceiling. Her timing? Impeccable. Her interactions with the cast? Effortlessly magnetic. (Lelo, you deserved every bit of applause and more!)

And Chris Jaftha—what a scene-stealer. Whether he’s Jacob in a dusty robe, a flamboyant Pharaoh dripping in gold, or the hilariously miserly Potiphar, Jaftha is unrecognisable in the best way. Each persona is delivered with physical comedy, vocal quirks, and enough muscle to make the front row swoon. His Elvis-style Pharaoh might be the most bonkers thing on that stage—and I say that knowing full well there’s a disco camel and a goat made out of glitter.

Visually, this production is a feast. Niall Griffin’s set and costumes don’t just serve—they absolutely slay. From metallic tunics to LED accents and reworked hieroglyphics, every design choice feels fresh and modern while paying homage to the show’s wacky roots. The cropped technicolour dreamcoat deserves its own Instagram page. Add Oliver Hauser’s lighting, and the result is a vivid fever dream you don’t want to wake from.

The choreography, co-crafted by Duane Alexander and Jared Schaedler, is athletic, punchy, and tight as a drum. The ensemble does not stop moving. Not for one second. They tumble, cartwheel, stomp, and shimmy their way through genres and timelines like it’s a TikTok musical universe—and it works. Each brother is distinct, full of personality, and most of them deserve a spin-off musical of their own.

Standouts? Absolutely. Gianluca Gironi and Miguel de Sampaio steal the show in Those Canaan Days, which is still the funniest scene in the show by a long shot. From exaggerated French accents to faux melodrama and literal applause breaks mid-song, it’s comedy gold with harmonies so tight they could open wine bottles. Justin Swartz as Naphtali is magnetic—a dancer with that rare combo of precision and swagger—and Michael Stray’s Simeon deserves a special nod for wringing laughs out of every strum of his guitar. And let’s not forget Yethu Kibi as Mrs Potiphar: dangerous, glamorous, unforgettable.

But the real triumph of this show is how aware it is of itself. It leans into its silliness without ever sacrificing quality. There are visual gags with Woolies bags, disco sheep bleeding glitter, and fourth-wall breaks that feel earned, not gimmicky. It’s slick. It’s cheeky. And it’s got enough heart to make you misty-eyed between laughs.

By the end of it, the crowd was on its feet—and not just because the finale demands it. We clapped because we wanted to. Because Joseph reminded us why we go to the theatre in the first place: to feel something. To laugh like children. To cheer. To believe that maybe, just maybe, dreams can still come true if your coat is fabulous enough.

So go, go, go—Joseph is only in Johannesburg for a limited time, and you’d be mad to miss it. Whether it’s your first time or your fifth, this production hits differently. It’s big. It’s brave. It’s brilliantly bonkers. And in this day and age, that’s exactly what we need.