Review: JESUS CHRIST SUPERSTAR at ARTS Theatre

Reviewed by Barry Lenny, Thursday 23rd July 2026.

Therry Theatre’s production of Tim Rice and Andrew Lloyd Webber’s rock-opera, Jesus Christ Superstar, was sold out weeks before opening night, reflecting the ongoing popularity of this musical. The production is directed by Ben Todd, who is also the set designer, with musical direction by Matthew Rumley, and choreography by Rebekah Stonelaitken, and with lighting design by Greg Donhardt. Together, they have put together a production that deserves to be sold out, and also deserved the standing ovation at the final bows. The casting is impeccable. Todd’s set, a combination of solid sections and back projections, is effective, and Donhardt’s lighting design is atmospheric. Gilian Cordell and Sandy Faithfull are behind the very impressive costumes.

The music is far from simple. Although complex time signatures are common in jazz, thanks to musicians such as Dave Brubeck and Paul Desmond, Andrew Lloyd Webber introduced the 7/8 time signature to the rock opera, found in the first song after the overture, Heaven on Their Minds, beginning in the section, “Nazareth, your famous son...”, and Everything’s Alright has a section in 5/4 time. It was innovative for its time.

It draws loosely from the gospels, covering the last week in the life of the central character in those narratives, conveniently glossing over the many conflicts and contradictions between the four versions. It doesn’t matter whether you are a believer who, in spite of the lack of verifiable supporting historical evidence and unbelievable claims, treats the bible as fact, or if you accept it as poorly written fiction, like the myriad other religions, the musical is still great entertainment. The story is told, this time, from the perspective of Judas Iscariot, with a created back story telling of his disillusionment with his perceived changes in Jesus from a man with a mission to his claims of being the son of a god, a messianic complex. Instead of simply accepting payment to place Jesus in the hands of the Romans, this explains why Judas took that path. It introduces conflict and portrays encounters between the two.

Daniel Hamilton brings out the internal and external conflicts superbly as Judas Iscariot, and Nicholas Munday presents Jesus as a man, not a supernatural deity, with all of the human flaws. Their interactions are the vital core of the musical and these two combine their individual, thoroughly committed performances into a powerful pairing. They both have excellent singing voices, but that can also be said of every member of the cast.

Rebecca Pynor has a fragility as Mary Magdalene, showing confusion at the way that Jesus affects her, and packing enormous emotion into her big number, I Don’t Know How to Love Him.

Jonathon Knoblauchas as Pontius Pilate, shows resignation as he succumbs to the cries from the crowd demanding the execution of Jesus.

Toby Strudwick, as the high camp Herod, gets to sing what I always thought to be the most memorable and humorous line in the entire musical; “prove to me that you’re no fool, walk across my swimming pool”. It still makes me laugh, and Strudwick clearly has fun portraying the flamboyant Herod.

The role of Peter is sung by Liam Phillips, frustrated in his failure to convince Jesus to take arms against his enemies, and Simon Zealotes, who denies Jesus three times, is played by Deon Martino-Williams. The Jewish leaders, Caiaphas and Annas are played with authority by Chris Coulter and Parisya Mosel.

Matthew Rumley leads a very tight band and has drilled the ensemble well, with the harmonies clean and clear. Rebekah Stonelaitken has also put the ensemble through their paces, with some of the busiest and most energetic choreography you are likely to see. Keep an eye on the ensemble. Not only do they sing and move as one, but each displays an individual personality.

In the end, nothing I say here will affect ticket sales, because every one was already sold weeks ago. As word spreads, though, there will be many who will be wishing that they’d booked earlier.

Photography, Richard Parkhill.

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