Review: Orpheus Musical Theatre's JESUS CHRIST SUPERSTAR

For its second show of its 2025-2026 season, Orpheus Musical Theatre takes on the monumental task of staging Andrew Lloyd Webber and Tim Rice’s legendary rock opera, Jesus Christ Superstar. This musical is known for its glitzy feel and powerful score, and the fact that Orpheus selected it for production speaks volumes about their ambition and passion for storytelling.

Set during the final week of his life, Jesus Christ Superstar explores Jesus’ (Paul Melsness) relationships and conflicts with his followers, especially Judas who, in the Bible, famously betrays him. The narrative is told from Judas (Billy Muhizi) perspective, tracing Jesus’ rise in popularity, the doubts of the apostles, including Simon (Alex Diavidson) and Peter (Axandre Lemours), as well as the mounting pressure that ultimately leads to Jesus’ crucifixion.

Jesus Christ Superstar opened in 1970 and, although the show was unique in its combination of rock music and a biblical story in an opera format, it feels rather dated for a contemporary audience. The score has rock, soul, and gospel influences, with demanding vocals and complex ensemble numbers. Memorable songs include the electrifying title track and the hysterical, jazzy “King Herod’s Song”. Orpheus’ musical direction makes the most of the choir and ensemble to allow harmonies to bring a sense of grandeur to the show. In this regard, the ensemble is the backbone of the production. Their unity, vocal strength, and stage presence brings musical numbers to life, especially showstoppers, like “Hosanna” and “Superstar.” The standout performance of the night came from Carmella Gehrels with her rendition of Mary Magdalene’s signature ballad, “I Don’t Know How to Love Him”. Neil Cachero and Thomas Jestin shone as King Herod and Pontius Pilate, respectively. While Melsness’ Jesus and Muhizi’s Judas delivered incredibly passionate performances, they both struggled with the demanding high notes, especially in notoriously difficult songs like “Gethsemane”. Enunciation was also a challenge, making it difficult for the audience to follow the lyrics, most notably in “Judas’ Death”. I do think it is important to acknowledge just how challenging this score is, even for experienced professionals. Both lead actor's commitment to their roles is commendable and their emotional investment helps to draw the audience into the story, the effects of which cannot be understated.

The set design, by Hannah Gorham-Smith, is detailed enough to immerse the audience in the setting, but simple enough that it isn’t overpowering the stage. The costumes, designed by Susan Cole, are of a modern style with the occasional classical accent; this show can opt for a modern or traditional feel, and both styles work equally well. The strength of the lighting design is especially felt in dramatic scenes like Judas’ death and during the crucifixion and its immediate aftermath. “The Crucifixion” felt eternally long compared to other versions of the musical, which was likely a deliberate directorial choice (Laura Duncan) done to make the audience feel uncomfortable; however, the message was received long before Jesus succumbs to his fate.

The selection of such a complex and iconic piece of theatre as Jesus Christ Superstar shows Orpheus' willingness to take risks and push their artistic boundaries, something that deserves recognition in its own right.

Jesus Christ Superstar is recommended for anyone looking to support local talent and experience a classic musical in a rock opera format. While some younger children might find the themes a little intense, teens and adults will find a lot to enjoy about the show and much to discuss after the curtain falls. On stage through March 15, 2026, get your tickets at the link below or click here for more details.