Jesus Christ Superstar

Jesus Christ Superstar

Hull Musical Theatre Company

 

Director Cait Atkins, Musical Director Rebecca Barques, Choreographer Meg Sugden & Production Designer Lauren Saunders

Middleton Hall

10th July 2025

From the moment you stepped into the performance space, it was clear that Hull Musical Theatre Company had crafted something thoughtful and striking. The set was deceptively simple but highly effective: a balcony spanned the rear of the stage with alit up cross in the middle, adding depth and drama, while two raised platforms either side created dynamic levels that were well-utilised throughout. It was a strong visual starting point that set the tone for a production that balanced power and poignancy in equal measure.

One of the most refreshing aspects of this staging was the positioning of the band. Under the skilful leadership of Musical Director Rebecca Barques, the musicians were placed in different areas of the stage, rather than being confined to a pit or behind the scenes. This decision gave the show a unique and immersive feel, bringing the music to the heart of the action. The band’s performance was tight, expressive, and sensitive to the needs of the drama, never overpowering the vocals yet always driving the emotional current forward.

Lighting design played a vital role in shaping the mood of the production. Bold colour choices and well-timed shifts complemented the music and narrative beautifully. Whether subtly casting shadows during quieter, more reflective moments or flooding the stage with intensity during high-stakes scenes, the lighting was always impactful and intelligent in its use.

The energy of the ensemble was very apparent and the chorus brought vitality and drive to every scene, clearly relishing their time on stage. Their enthusiasm was evident and highly engaging. Meg Sugden’s choreography was another major highlight—cleverly constructed to suit both the music and the performers, and particularly effective during the large ensemble numbers. Movements were tight and well-executed, with the group performances full of purpose and intent.

Costumes were also well-conceived, offering a modern interpretation that still paid homage to the biblical context of the story. The decision to bring contemporary styling into the mix worked very well, helping to ground the themes of betrayal, power, faith, and resistance in a more immediate and relatable world.

There were many individual performances of note. Chris Barques as Jesus brought a magnetic presence and an extraordinary vocal range that was ideally suited to the demands of the role. His portrayal captured both the humanity and the divinity of the character, navigating moments of serenity, pain, and inner conflict with great skill and emotional depth.

David Cameron was superb as Judas, a role that requires both vocal prowess and strong dramatic instincts. He rose to the challenge with apparent ease, delivering a performance that was both powerful and emotionally layered. His Judas was complex—angry yet conflicted, ultimately tragic—and utterly compelling.

Jade Easom-Samuels added a soulful and heartfelt quality to the production with her beautiful voice and emotional connection to the material. Her performance added a touch of tenderness in key moments and was a welcome contrast to the surrounding tension.

Lauren Saunders was phenomenal as Pontius Pilate. She brought a strong, commanding presence to the stage and navigated the emotional weight of her scenes with assurance. Her voice soared during the pivotal trial scene, making her one of the standout performances of the evening.

Equally memorable was Benedict Prosser as Caiaphas. With his deep, resonant bass and cool, calculated characterisation, he made an immediate impact. His voice was spine-tingling, and his performance brought an intensity that elevated every scene he was in.

Cait Atkin, doubling as director and performer in the role of Annas, showed great control and sharp stagecraft. As Annas, her cool and conniving presence was the perfect foil to Prosser’s Caiaphas. As director, Atkin demonstrated real vision and a strong sense of spatial awareness—staging was dynamic yet never crowded, allowing each performer space to shine while maintaining a cohesive visual picture.

Luke Cardwell brought warmth and sincerity to Peter, delivering a gentle and compassionate performance that added depth to the group dynamics. Meg Sugden as Simon was powerful and purposeful, giving a bold performance full of drive, particularly in the more revolutionary scenes.

A definite crowd favourite was “Herod’s Song,” led by Michelle Metcalfe. A much-needed comedic break in the narrative, this number was a riot of colour, fun, and flamboyant choreography. It offered a perfect moment of levity amidst the intensity, and Metcalfe’s charismatic performance had the audience thoroughly entertained. Also a special note must be made the wonderful dancers in this number who excellently executed the choreography.

What made this production even more special was the company’s clear commitment to inclusivity. In the programme, Hull Musical Theatre Company states: “Our company believes in the value of diversity and inclusivity, celebrating and showcasing amateur performances with diverse backgrounds, ages, abilities, identities, body types and confidence levels.” This wasn’t just a token statement—it was a value clearly embedded in every aspect of the production. The diversity on stage made the story feel more authentic and accessible, and the show’s impact was all the greater for it. They are definitely a society that practices what they preach.

Overall, Jesus Christ Superstar by Hull Musical Theatre Company was a bold, passionate, and moving production. With a committed cast, exceptional musical direction, thoughtful choreography, and a clear artistic vision, it captured both the grandeur and intimacy of this classic rock opera. It was not only a celebration of musical theatre but a shining example of community, collaboration, and inclusivity at its best.

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