Jesus Christ Superstar

Jesus Christ Superstar is a high-voltage rock opera by Andrew Lloyd Webber and Tim Rice that reimagines the final days of Jesus Christ with raw emotion and electrifying music. Loosely based on the Gospels, it dives deep into the human drama behind the divine story—exploring the tension between Jesus, his followers, the people of Israel, and the Roman authorities. At its heart are two powerful relationships: the volatile bond between Jesus and Judas Iscariot, and the tender connection with Mary Magdalene. It's a bold, provocative retelling that pulses with passion, doubt, and destiny. 

NMTC’s production of Jesus Christ Superstar had a large and talented cast, filled with energy from start to finish. Linden Iliffe’s (Jesus of Nazareth) vocal prowess was put to the test in this demanding part, singing many difficult songs with ease. Dan Hodson as Judas, commanded the stage on every appearance, providing strong rock vocals, being broody and menacing whilst also casting shadows of doubt. Ellie Tollan, as Mary Magdalene, offered a beautifully balanced performance — tender yet commanding, especially in her solo moments. We particularly enjoyed the small group songs performed by Brett Hanson (Caiaphas), Timothy Sell (Annas), and the priests – John Myhill, Robert Laurie and Blake Robinson, their scenes were performed with confidence and were vocally rich. A true highlight was Matt Clarke’s cabaret-inspired take on “Herod’s Song” with humour, playfulness and cheek. 

The musical direction from Rod Iliffe provided haunting moments with the close harmony work by the cast in “Judas’ Death”, along with rich sounds during numbers such as “What’s the Buzz?” and “The Temple”. There was a perfect blend of all harmony parts. The cast were accompanied by a live orchestra. The musicians provided such a professional sound that, at times, we forgot they were playing live. 

Martyn Knight should be commended for directing the show as it moved with purpose, never losing its dramatic drive. His choreography was well suited to the ability of the cast, simple and effective at times, in order to not detract from solo performers.  The Fosse-inspired choreography in “Herod’s Song” was a perfect match for its vaudevillian tone — stylish, cheeky, and full of character. There were some creative touches in direction such as using torches for lighting, highlighting each cast member as they sang in “The Arrest”. Judas’ demise was carefully played out with clever lighting choices and smoke alluding to his death. 

The single set staging was dynamically used and with minimal use of props meant unobtrusive scene changes. The earthy tones of the costumes supported the location of the show in its biblical setting while allowing individuality within the ensemble. The matching robes and staves of Caiaphas, Annas, and the priests created a striking visual unity. A subtle but effective touch was their consistent hand placement while holding the staff — a detail that reinforced character discipline and stage presence. It was easy to distinguish between Jesus and Judas, with one in white and the other in black. In scenes where the ensemble were resembling guards, it would have been more effective had they all worn all black clothing, creating a more uniformed approach. 

The lighting was creative, pulling focus to parts of the stage where the action was taking place. The sound quality was generally clear, though at times the orchestra slightly overpowered softer vocal moments — a minor imbalance in an otherwise well-mixed production. 

All in all, this was a wonderful production of which all involved should be proud of. Thank you for the warm welcome and hospitality. 

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