Review: JESUS CHRIST SUPERSTAR at West Otago Community Centre Tapanui

Media Preview by Torrone Smith

Jesus Christ Superstar has returned to Tapanui for the first time in 26 years, and the West Otago Theatrical Society (WOTS) has marked the occasion with a poignant nod to its own history. The production brings back key figures from the 2000 season, including Jeff Rea—who played Jesus then and now shares musical direction with Nicola Russell—and dancer Wendy Cook, who performed at age 16 and now returns to the stage alongside her two children. It is a lovely bit of continuity for this tight-knit community.

Directed by Margie Rea with choreography by Kirsten McIntyre, the production is built around a distinct "out of the box" visual concept. Rea’s vision eschews flashiness for considered simplicity, featuring costumes crafted from single pieces of fabric inspired by the boxy architecture of early Jewish buildings.

The rock opera, which is almost entirely sung, follows the final week of Jesus’s life. Lloyd Webber and Rice’s work famously strips away the image of a calm, divine figure, instead presenting a Jesus who is tired, doubtful, and frightened. Similarly, Judas is characterized not as a simple villain, but as a man acting out of a desperate belief that he is doing the right thing. This central tension is the engine of the show, and it is handled expertly here.

Rea’s direction focuses on cutting through the historical and religious misconceptions surrounding the story. This is most visible in the performances, where the internal struggles of Jesus, Judas, Pilate, and Mary are portrayed with a clarity that doesn’t require over-explanation. A standout creative choice was Rob Hall’s King Herod, portrayed as a puppet—a clever, lighthearted nod to the political gamesmanship behind the well-known tragedy.

On stage, Judas remains the pivotal figure. Scott Mitchell’s performance was exceptional; he earned his final scene through genuine character work rather than just vocal prowess. The palpable anguish and regret in his closing moments left the audience in a telling, heavy silence. Opposite him, Darren Kelly’s Jesus carried a consistent weight of doubt that made his "Gethsemane" feel like a natural progression of his character’s fear rather than a sudden shift.

Victoria Kelly’s Mary Magdalene provides the show's emotional core. Her rendition of "I Don’t Know How to Love Him" felt lived-in and genuine, conveying exactly what her devotion to Jesus costs her. Another highlight was Craig Wadsworth’s Pilate. Rather than leaning on the inherent authority of the role, Wadsworth played Pilate’s discomfort and reluctant involvement with convincing nuance.

Musically, the production is sharp, with the Act Two harmonies and the unsettling presence of the recurring Pharisees standing out. The minimalist set design allows the audience to stay locked on the narrative, while the lighting does much of the heavy lifting, shifting the mood as the story grows darker. McIntyre’s choreography is well-drilled and feels integrated into the scenes rather than merely decorative.

This is a production that trusts its material and its cast. Built around strong performances—specifically Victoria Kelly and Craig Wadsworth—and accented by Rob Hall’s memorable Herod, it is a must-see. The WOTS theatre holds just 204 seats, so with a short season, I would recommend booking early rather than relying on door sales. If you see only one community show in West Otago this winter, make it this one.

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