Review: JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT at Theatre on the Bay Is a Musical Extravaganza

Everyone and his mother has seen JOSEPH – it’s an Andrew Lloyd Webber classic. I myself, have seen the show live five times – including school, community theatre, and professional productions (Never mind the Donny Osmond version that we hired on VHS when I was a little girl and which the show’s composer graciously made available to stream for free in 2020, when we were all bored out of our minds while COVID raged outside). Why then, after so much JOSEPH do you need to see this production?

Well, as you probably guessed, I’m going to tell you exactly why.

Since I’ve already established that one (probably) sees JOSEPH approximately five times per three decades, I’ll be foregoing the narrative outline.

Directed by dream-team Anton Luitingh and Duane Alexander, this production of JOSEPH is unlike any you have ever seen before (and you’ve probably, like me, seen a good few).

Firstly, the choreography: Alexander and Jared Schaedler transform this production into a feat of athleticism and acrobatics. The choreography (possibly my favourite element of the show) is bold, energetic, sophisticated eye-catching and beautiful to watch on stage – signature Schaedler and Alexander. It is executed perfectly by the phenomenal cast, including some of LAMTA’s finest graduates, such as Anna Olivier, Jayden Dickson, Lea Blerk, and Jasmine Minter. You’ve never seen a more dance-heavy production of JOSEPH and it really works. Indeed, Act 1 is a non-stop, 40-minute fever dream and I couldn’t stop smiling.  

Act 2 is more mellow and allows the audience members to catch their collective breath. This provides a good balance.

Then we have the acting. It was special for me to see Dylan Janse van Rensburg in the titular role, since I watched him play Joseph back in 2019, in a community theatre version of the show at the Playhouse Theatre in Somerset West, when he was just a teen. He was outstanding then and it is gratifying to see the maturity and growth he brings to the role six years later.

It is also a marvel to observe how versatile Janse van Rensburg is as a performer. At interval, my boyfriend verbalised something that I too had been thinking: that in a STREETCAR NAMED DESIRE, Janse van Rensburg’s stature had seemed so much bigger than that he has adopted in Joseph. This was not a dig at Janse van Rensburg or an insinuation that he had suddenly shrunk. Instead, it is telling of his ability to transform – from embodying a physicality as (for example) the commanding, bullish Stanley in STREETCAR, to the vulnerable and innocuous characterisation of the doe-eyed Joseph.

His dancing and his voice are just as spectacular: I could have listened to his “Close Every Door” on repeat for hours. He’s just perfect in this role.

JOSEPH is very much an ensemble piece and each of the 21 performers is fantastic – individually and as part of the collective.

I take this opportunity to point out some standouts: Stuart Brown as the doomed chef is a tonic and Gemma Bisseker as the fantasy-crop dancer (yes, you read that right) is dazzling.

The humour is something that stands out in this production and it’s all in the details: Joseph’s coat arrives via delivery in a Snakealot box; when Joseph’s siblings maul the sheep, its blood is red glitter; I could have sworn that one of the brothers pulled out an asthma pump; and when the brothers gather crops to take home, they flip what resemble fabric Woolies totes over their shoulders.

And then there’s my favourite scene of this production, comprising pure comedic genius: “Those Canaan Days”.

This has always been a hilarious song but this rendition is side-splitting. Gianluca Gironi, Miguel de Sampaio and the other nine brothers are classic in this song. From their decision to pronounce the word as “extrehm” instead of “extreme” to Gironi’s freaky little squat-walk makes the number to the breaking of the fourth wall to congratulate each other on their harmonies, this performance is flawless.

Lelo Ramasimong makes a stunning narrator, with a voice that knows no bounds. She belts the highest of notes and adds a cheeky flair to the role. I loved watching her interactions with the other characters whether she was singing or observing the action onstage.

Then we have Chris Jaftha as Jacob, Potiphar and, of course, Pharoah. He is unrecognisable in each role – when Jaftha emerges near the beginning of the show as Jacob, in the baggiest if attire, he looks like skin and bones, only to strut out later as the hunky, muscled, gold-clad Pharoah. Jaftha is gifted with voices and adopts a different accent and vocal tone for each character. He is hilarious.

The only negative is that I often missed Jaftha’s enunciation when he played Pharoah, which is funny because it’s almost part of Pharoah’s shtick but I wanted to hear every word. As the camp and money-obsessed Potiphar, he is equally hysterical.

Just three more quick shout-outs: Braedan Buys as Naphtali is captivating – a talented dancer with stage presence that shines from each corner of the stage, I wasn’t able to stop watching him. His rendition of “Benjamin’s Calypso” was fantastic and you could see he relished every moment. I loved Yethu Kibi as Mrs Potiphar – the perfect femme fatale and Michael Stray's hilarious, guitar-strumming Simeon.

The usual suspects are phenomenal: Niall Griffin’s costumes are works of art: glitzy, glam, sexy and modern. I’ve never seen a cropped technicolour dream coat – and I love it. Griffin’s set, bordered by hieroglyphic-type frames the stage perfectly, and nothing says showtunes like his glitter-blooded sheep.

Amy Campbell’s musical direction is perfection as always, as is Oliver Hauser’s atmospheric lighting Musical supervisor Charl Johan Lingenfelder and sound designer David Classen’s sound design complete this smash hit.

So, here we are, an essay later. At the beginning of this review I shared that I’ve seen Joseph live five times. Well, it’s soon to be six because I’ve already booked to go again. You know what I’m about to say: “Go go go (Jo)!”

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOATS runs at Theatre on the Bay from 9 May to 13 July 2025. Tickets are available via Webtickets and cost between R175 and R475