Therry Theatre. The Arts Theatre. 23 Jul 2026
Few musicals demand as much from performers as Jesus Christ Superstar. Andrew Lloyd Webber and Tim Rice’s deceptively demanding rock opera is not just a collection of iconic songs; it is a work driven by conflict, doubt and betrayal. Its success depends not only on vocal prowess, but on each performer’s ability to understand and communicate the emotional weight behind the words.
Beneath those familiar melodies lies a work that requires extraordinary precision, emotional intelligence, and dramatic clarity. The characters are complex, and the lyrics do most of the storytelling. While this cast approaches the material with enthusiasm and commitment, Therry Theatre’s production struggles to consistently move beyond performing the music into fully inhabiting the drama.
Designed and Directed by Ben Todd, with Musical Direction by Matthew Rumley and Choreography by Rebekah Stonelaitken, this is a challenging and, at times, confusing production. Occupying a space between rock concert, opera, and traditional musical theatre, Jesus Christ Superstar demands not only a technical command of the score, but the ability to make each song a revelation of character. Despite many moments of genuine ability, this production’s central challenge is that the connection between staging, direction, performance, and character is not always realised.
Nicholas Munday brings considerable vocal authority to the role of Jesus. A classically trained singer, he approaches Jesus with control and musical discipline rather than the raw rock intensity often associated with the role. It is a thoughtful interpretation, though at times the emotional conflict beneath the technical accomplishment feels more restrained than the material demands. His interpretation carries the necessary gravitas but lacks connection to the vulnerability of the man. Jesus must embody the fear and uncertainty of his unavoidable destiny. Those moments of internal struggle were not fully realised.
Daniel Hamilton’s Judas is also a performance of considerable vocal ability, but one that also struggles with his character’s dramatic progression. Judas is a man driven by frustration, conflict, and ultimately despair. Hamilton brings energy and presence to the role, but the emotional journey that leads Judas to his final act is not sufficiently developed. The tragedy of Judas lies in watching him move inexorably towards a decision he cannot escape. That moment—his suicide—seems to arrive before Hamilton has fully realised Judas’s psychological collapse.
One of the stronger character connections comes from Rebecca Pynor as Mary. Pynor brings warmth, vulnerability, and an emotional clarity to the role, creating a character who feels more grounded and human. Her vocal approach has a gentle, country-inflected sweetness that gives Mary a distinctive quality and allows moments of tenderness to emerge within the production’s darker emotional landscape.
There are also several impressive individual contributions throughout the ensemble. Michelle Davy, Ava Cannard, Seb Schulz and Liam Phillips (who also plays Peter) stand out for their precision and stage presence as dancers. Deon Martino-Williams also brings confidence and energy to Simon, with his featured number, Simon Zealotes/Poor Jerusalem, providing one of the production’s more successful musical moments.
One of the evening’s standout performances comes from Toby Strudwicke as King Herod. Herod’s song can easily become excessive, but Strudwicke understands what the moment requires. Finding the right balance between humour, theatricality and restraint, he embraces the inherent camp nature of the character without allowing it to become an empty spectacle. His is a confident and connected performance.
The production’s difficulties extend beyond individual performances. Todd’s direction often feels uncertain in its dramatic choices, with the staging frequently working against the flow of the action. The set design contributes to this sense of restriction, creating a cramped central playing space. The two raised platforms on either side of the stage provide an effective opportunity for visual hierarchy, with one used successfully to position the powerful figures above the crowd, reinforcing their authority and separation from those they influence. The second platform, however, feels less purposeful, restricting movement rather than enhancing the action.
Rebekah Stonelaitken’s choreography brings energy but also lacks consistency of purpose. The dancers themselves demonstrate considerable ability, but some choices appear disconnected from character and dramatic intention. Having Caiaphas, Annas, and at times Jesus dance seems at odds with the characters’ dramatic identity. The production also misses opportunities for moments of restraint and stillness.
Matthew Rumley’s musical direction and the band provide a strong foundation for the score. The musicians handle the complexity and demands of the material, but the balance between orchestra and performers is a significant issue on opening night. Vocal microphones were frequently too low, while the orchestra often overwhelmed the singers, making lyrics and dialogue difficult to hear.
Therry Theatre’s Jesus Christ Superstar is an ambitious undertaking, and the cast’s commitment is evident throughout. The production demonstrates the dedication and ability of those involved, but it needed a stronger connection between the music, the characters and the dramatic choices surrounding them. The season is sold out, demonstrating the enduring appeal of this much-loved musical and the strength of Therry Theatre’s following.
Paul Rodda
When: 23 Jul to 1 Aug
Where: Arts Theatre
Bookings: Sold Out
State Theatre Company of South Australia/Paper Mouth Theatre Company. 11 Jul 2026
Mary Angley’s vision for Paper Mouth Theatre Company’s take on Chekov’s Uncle Vanya is very much in the spirit animating English playwright Howard Barker’s take on the Russian classic; rip it apart, find something new in it, deliver in a fashion blowing audience’s minds. Brink Productions achieved that in 1997.
Angley’s vision for her production is a ferocious deep dive into things so utterly modern day about the circumstances hapless Vanya and his household endure and their need for comfort. Allied to the idea theatre should provide that comfort too. With, as Angley declares in her Director’s Note, gimmicks. Those videos appearing on the upstage wall. ASMR is in fact Autonomous Sensory Meridian Response, something to soothe, calm.
The wall is in fact a beautiful, shimmering forest created by Fraz The Wizard. Then there’s warm, gentle piano by Dan Thorpe, who plays Telegin. Bianka Kennedy’s set is glorious in its wide, sparse rustic beauty.
The beautiful, gracious, classical style performances segue to moments in which the play’s length is criticised. In fact, Act 2 is wholly excised. This is explained by Angley who plays The Professor. Angley muses on what links the world of Vanya and our time. Muses even why she, the Director, should be in the play. Act 2 gets a quick power point plot summation before we belt into Act 3. Angley Act 2 is a lot of fun actually.
Extra fun is added thanks to a set of six actors as a mini audience sitting on the stage. They’re offered the chance to cut monologues considered too long. This play’s not for keeping if it doesn’t deliver the feels. So, actors swap roles. They love doing the acting they say.
Not content with that, a phrase of serious emotional dialogue suddenly becomes a whip fast rap and dance number choreographed by Felicity Boyd. The great battle between Vanya and the Professor is not what you expected to see.
All this short form content stuff layered over the 1887 text is indeed, so much fun. Yet the innate intent and spirit of Chekov’s text remains completely intact—albeit with a few dents here and there.
A sensational cast delivers the most well formed, beautiful characterisations alongside some hair-raising tumbles and wicked double play; Yoz Mensch,, Lucy Haas, Arran Beattie, Poppy Mee, and Ellen Graham.
Here’s quite an achievement. Take a melancholic Russian classic, inject a solid dose of 21st Century social media/tech content into it. Result, a funny sadness. Weird sense of changing something up, but did it work for you? A question to bug you for days after.
David O’Brien
When: 9 to 18 Jul
Where: AC Arts Main Theatre
Bookings: statetheatrecompany.com.au
Marie Clark Musical Theatre. The Arts Theatre. 26 Jun 2026
From the evergreen stage show Oliver! written originally by Lionel Bart (based on the Victorian Britain novel by Charles Dickens about a poorhouse orphan) comes a classic performance. It’s not often that audiences are asked not to sing, but such was the request for this production (“you can sing in the car on the way home!”).
And so, to the opening number, Food Glorious Food, and the singing expectations are immediately exceeded. Oliver (played by Patrick Green) established his credentials from the opening scene with that most famous of theatrical lines ‘please sir, can I have some more?’ In this season of Oliver!, it should be noted there are two youth casts who rotate through the performance schedule which comprises matinee and evening shows over the weekend. Our performance starred the Dickens Youth Cast, and very fine they were too. I can only imagine the other, the Bart Youth Cast show equal aplomb. Alix Carter as the Artful Dodger was sassy and extremely capable, turning in a dynamic performance.
Oliver teams up with a gang of young pickpockets who all steal for the slyly brilliant Fagin (great casting and performance from Adam Goodburn) who is probably consistently best-on-stage. By the time that one of the show’s highlight pieces comes about–Consider Yourself–the cast, directed by Lucy Trewin and Eloise Morriss, are in fine voice, and with the entire cast on stage the foundations of the Arts Theatre (itself dating back to the 1960s) were given a rocking.
Mention must be made of the young cast of pickpockets (Evie Dew, Jacqueline Siow, Jonathon Siow, Leo Dew, Nola Owen-Blazewicz, Owen Wu, Penelope Natt and Sassika Bentley), Musical Director Jaxon Joy, and the outstanding Sarah Hamilton as Nancy. Her Nancy was bold and brassy, sensitive and kind to the kids, and Hamilton worked these variations in character with great skill. As a singer she was the star of the show, powerful and clearly in control of her environment.
So, were there problems? Really, only one. Some of the acting was not to the standard set by the rest of the production. For music theatre one supposes this can be explained away, but when it is very much below all else it is quite noticeable.
Some imaginative lighting from Michael Benjamin lifted the production beyond the standard, exemplified by the use of a projection screen for Bill Sykes’ death. And how wonderful to have the accompaniment of Jaxon Joy’s 15-piece orchestra!
This is a considered and well realised production, and the quality of the voices is just outstanding. The beautiful haunting harmonies of Who Will Buy should remain with audiences for some time. Acknowledging the subject matter, this is a cracking production: well-rounded performances, deft choreography (also from Morriss, who paid particular attention to cast stage business while principals were front and centre) and superb musicianship.
This version of Oliver! really was excellent, a performance which brings to mind a couple of much debated points in the theatre scene around Adelaide. Firstly, what is the distinction between amateur and professional theatre, for if it is reckoned to be quality this was a performance to blush many professional outfits. If it is about the status of the cast (they being amateurs) then there is an argument about where the arts funding in this state is going.
Arna Eyers-White
When: 19 to 27 Jun
Where: Arts Theatre
Bookings: Closed
Pitchwhite Productions. The Studio, Holden Street Theatres. 25 Jun 2026
This new Australian work by Louise Hopewell is a relevant and provocative think-piece for the very now.
It is about a viable future of AI and automation. It is exciting and worrying.
How long may it be before robots can take the place of carers in nursing homes?
In Only Human, octogenarian Ruth’s care is suddenly “upgraded” by the employment of a personal robot. It is programmed with her needs and functions as a smart slave.
In a time when chronically short-handed nursing homes are largely staffed by underpaid immigrants with hearts of gold but insufficient time to do their best, this question of the automated alternative reigns high. We all face this future. We all are aging. The issue is growing.
We are lucky to have the South Asian workers who, unlike us, have a cultural impetus to care for the aged and infirm.
I’m not just a theatre critic; I am also a Norwood Council Volunteer Aged Care Visitor.
I have just achieved the age of the play’s protagonist.
Double whammy.
I am regularly on the ground in the play’s setting.
In fact, I have just come home from that twilight world, heavy-hearted as usual. The residents are well cared for but their world is bleak and the sweet-natured staff can only do so much.
In Only Human, the non-human takes the weight off. Each patient has their own “Scally”.
They then are not lonely or bored, let alone in soiled Depends.
Ruth’s daughter is a doctor, and she sees the non-human issues as pivotal.
Thus, the play debates a realistic future and it is intense.
Under Hannah Smith’s direction, there is a rich emotional landscape and a gratifying evolution of tension.
She’s graced by an impressive three-hander cast. Sharon Malujilo embodies aging Ruth and plays out her growing dementia with beautifully perceived balance.
Monica Patteson, as daughter Jody, is playing the “us” of offspring forced into committing a parent into care. It is a gruelling experience which she depicts with sensitivity while doing the heavy lifting of the ethical and moral dilemmas of the new order. Meanwhile, there is Isiah Macaspac as a robot. Some audience members at the opening initially seemed to think it is a comic role. Au contraire. This is a serious piece of theatre, and, despite a few calculated moments of humour, the robot absolutely is not a clown. It is a sinister portent of both our dreams and nightmares.
Macaspac plays it with admirable precision.
The play is not perfect. There are moments when its credibility falters.
But, as a taut and terrific production, it is an absolute winner.
Samela Harris
When: 25 to 28 Jun
Where: Holden Street Theatres
Bookings: holdenstreettheatres.com.au
Holden Street Theatres. 31 May 2026
You are invited to, literally, a ringside seat to the most effed up wedding of the year. It all starts with a bit of hair straightening and the squish into the wedding dress as two sisters ready their bride-to-be sibling. The banter is free and easy. By the end of the play, it will be your hair that is standing on end as the vodka and beer bring out the dirty linen.
Director Nick Fagan propels the action with perpetual kinetics. A large number of actors are in constant motion abetted by a central revolve which seems to work when you don’t really need it and doesn’t revolve when it’s essential.
The accent coach is probably a little disappointed by consistency from some players but set design by Nick Fagan, lighting design and complex scene changes are all good stuff. The melodramatics appropriately escalate but hit a shriek level that was too high, too early and went on for too long, stealing the audience's energy for the finale.
Spencer Scholz plays the bridegroom and outsider to this post-industrial Midlands family that is still stuck in the abandoned coal mines. His character is as Polish as a pierogi; he fulfilled my stereotype of a successful East European immigrant. Bravo! Jo St Clair makes a fabulous foil with comic relief. Bravo! Brant Eustice’s demonstration of unrequited love is seriously grievous. Bravo! The action swells to a crescendo the likes of which I’ve never seen before. Bravo to the indefatigable Martha Lott! Generous bravos in a cast of high-quality actors.
You will empathise with strongly developed and portrayed characters who can’t change, who struggle to understand where does the love go, who don’t know whether to hold on or to let go of their myths - for teenagers aching to understand what growing up means. Beth Steel’s play has a smorgasbord of issues, and this cast and production will push more than a few of your buttons.
David Grybowski
When: 26 May to 14 Jun
Where: Holden Street Theatres
Bookings: holdenstreettheatres.online