I first encountered Rice and Webber’s “Jesus Christ Superstar” at a concert performance on the Memorial Drive Tennis Court precinct during the May Adelaide Festival of 1972. It arrived again, this time as a full stage production in late 1974, this time at the new Adelaide Festival Centre per courtesy of impresario Harry M Miller and directed by Jim Sharman. Both productions featured Trevor White as Jesus and the late, great Jon English as Judas. By that time the musical had become part of my theatre experience DNA. Last night and, right from curtain up, it was evident it was pressing the same buttons in each and every audience member. The Arts Theatre was packed to the rafters. Therry Theatre’s 2026 production of JCS simply defies superlatives. Let me tell you why.
Director/Designer Ben Todd’s chosen vision of simplicity applied to elicit maximum effect is just what fans of JCS ordered! The open space set between identical city walls both with a rampart is an ideal location for all open air meetings and gatherings. With slick addition of side awnings it converts to a series of market stalls within the Temple, and later, with appropriate banners and drapes flown in, it variously becomes the Prefecture of Pontius Pilate or the gaudy palace of Herod. It is the ideal playing field in all its iterations for a fabulous ensemble in all of their iterations! Todd directs with a deft knowledge of both his performers and his audience. All aspects of the production be they visual, soundful and/or atmospheric resonated in a perfect harmony. It was a rare treat!
From the initial chords from the sole guitarist standing in silhouette in front of a blood red cyclorama the audience was hooked. The insistent driving rhythms instantly awakened our earworm memories. MD Matthew Rumley’s ideal choice and blend of orchestral instruments and their resultant sound was of itself worthy of the price of admission. Throughout the entire score timing was spot on and the sound level was well modulated with regard to all of the vocal presentation. We heard every word from every voice.
Movement on and across the stage was a compelling feature from go to whoa. Whether the first rate and well schooled ensemble was merely milling around, manning the ramparts during the trial or being the chorus line and part of the crisp, percussive tap dance routine in Herod’s Castle they undertook all with immaculate precision. Everybody on stage was fully aware of their movement in time and place and it was all conducted with admirable precision. The result, no doubt, of painstaking rehearsal. I also noted that sight lines had been well attended to and all entries and exits were timely and seamless. Concentration on stage was the sole focus and It all culminated in a satisfying and pleasurable watch. Both the Production Choreographer Rebeka Stonelaitken in conjunction with Dance Captain Vanessa Redmond can take pride in guiding the movement of the large ensemble. Lighting design by Greg Donhardt and its smooth execution really mirrored the emotions being played out in the last days of Jesus of Nazareth. Projected names and images, used sparingly but to great effect during and at the end of the play were most apt. It was a well disciplined technical exercise by all involved. Costuming by Gilian Cordell and Sandy Faithfull was cleverly devised. The Ensemble dressed in a mix of timeless every day wear that had a hint of both the era and the present day. That allowed principal parts to stand out. It was easy to discern the plain robe clad Jesus, the red robes of the High Priests, the simple uniform and head gear of the Roman Guardsmen and the more opulent bling of Herod. It all looked fitting indeed.
The principal cast members shared a collective communion. Diction was excellent, so the words throughout the narrative were sharp and clear. I sat mid stalls for Act 1 and in the far back corner for Act 2 and voice delivery from all on stage was perfect in both locations. It was evident there existed on stage a mutual appreciation and respect for each other’s talent and contribution. This served to underpin confidence and enhance delivery. All of the key characters were transparent re their thoughts, attitudes and motives as events unfolded. Chris Coulter as a deeply resonant Caiaphus and his somewhat nastier, snappy junior Annas (Parisya Mosel) were suitably self-righteous and sanctimonious. Their voices complemented each other in affirming believable portrayals of their hierarchical status. Apostle Peter (Liam Phillips) lends clear voice but a none too convincing claim to not knowing Jesus. Whilst Simon (Deon Martino-Williams) accompanied by his sign written name also joins the well voiced party. Both characters, with astute stage presence stir the broth of doubt and complexity that Jesus must negotiate. As Herod Toby Strudwicke is very much his own mocking monarch. He is delightfully decadent, a little effete, a little “bling” and possesses great dance moves. Strudwicke grabs a plum part with a plum song and dance routine and, together with spectacular ensemble assistance, makes it his own. The audience was delighted. Jonathon Knoblauch is a most convincing Pontius Pilate as he presides over a trial that is preordained. He invests great vocal energy in trying to mitigate for the itinerant preacher and healer, but to no avail. It was a display of considerable emotional range by Knoblauch and a notable one at that.
Rebecca Pynor gave a remarkably touching portrayal as Mary, with her complex feelings for Jesus laid bare. Her easy and true vocal qualities permit her to wear all of her emotions on her sleeve. Her performance evoked empathy from a constantly pin drop attentive audience. It was a terrific performance. In many ways Judas is both catalyst and the chorus thread woven into Christ’s Passion. The powerfully charged and emotive voice of Daniel Hamilton projects his Judas from the stage with dramatic conviction. His internal conflict is well underlined and sometimes loyalty and altruism simply don’t mix. Do you follow a concept with blind faith or do you act in a way you believe will shield friends and others from harm? Hamilton’s performance is quite extraordinary. He is a thoroughly believable Judas.
Nicholas Munday ponders the trials and tribulations of the last week in Christ’s life with a vocal range as broad as it is true and with such power and authority! His characterisation of Jesus evokes a stirring impact which is delivered in spades with the emotionally charged climax of “Gethsemane”. The way that he, and all on stage, handle the Crucifixion scene is a master class in stagecraft, care and attention to detail. Munday’s performance is at the very least, the equivalent of all others I have seen playing the role of Christ, in any production. It was a flawless and exquisite performance.
And so too is this wonderful production. That it has carried the banner “SOLD OUT” on the “Trybooking” website for some weeks now is testimony to that. It is a thrilling, adrenaline inducing piece of musical theatre. It is inspirational. To Therry Council and everybody involved with this production my humble congratulations. It was more than merely memorable.
