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