Jesus Christ Superstar

Jesus Christ Superstar is a musical I hold particularly dear, as it was one of the first large-scale productions I appeared in as a teenager nearly 40 years ago. In the decades since, I have seen many interpretations of Andrew Lloyd Webber and Tim Rice’s rock opera, but this production offered a contemporary repositioning, portraying Jesus as a social-media influencer and his followers as a public obsessed with following him both physically and virtually on their phones.

It was, undeniably, a bold concept, and often an effective one. In the early scenes, where Jesus is idolised, and later, when adoration turns into menace, the ensemble’s instinctive reach for their phones proved a smart and telling visual. The use of live streaming, in particular, created moments of brilliance. But this was countered by some awkward moments. Annas’s audible ‘ping’ as he transferred money to Judas was a step too far for me, and a confusing one at that, since Judas was visibly holding Mary Magdalene’s phone. Likewise, the repeated use of projected rehearsal footage diluted rather than deepened the dramatics. Most damagingly, following Jesus’s arrest on stage with ‘breaking news’ footage showing him being arrested in the church hall shattered the illusion entirely. The idea itself was full of possibility, but it was overused, and the quality of execution in many of the videos was lacking.

For an amateur society, Jesus Christ Superstar offers a rare chance to unleash the full force of a large ensemble, and BSEODS embraced that opportunity with conviction. In a company of this size, one’s eye often catches on a weak link or an unduly dominant presence; here, that never happened. Instead, the cast moved as a cohesive whole, creating a sense of collective energy through clear choreography and robust ensemble singing. The ‘39 Lashes’ sequence was particularly striking. If some of the stage combat occasionally tipped towards the unintentionally comic, and the blocking in those moments might have been sharper, the overall effect remained powerful. This was a company performance of real commitment and momentum.

Because the story is effectively told through Judas’s eyes, much rests on the performance in that role. Adam Bonner gave a clear and dramatic portrayal of Judas’s mounting unease at Jesus grows in popularity and his eventual betrayal. There was real purpose in the characterisation, even if the vocals exposed some limitations. The opening number, ‘Heaven on Their Minds’, began strongly, but as it reached its climax, it became apparent that parts of the score sat beyond his range. The acting nearly bridged that gap, though a more considered musical approach — a lower key, a revised arrangement, or even selective spoken delivery — should have been explored.

Asha Ray’s Mary Magdalene, by contrast, brought vocal stability and emotional clarity. She sang with warmth and sensitivity and communicated both Mary’s personal journey and the tenderness of her relationship with Jesus. One of the production’s most eloquent visual choices came during ‘Could We Start Again, Please?’, sung with Peter (Alfie Davies), and sung well, when the phone-screen backdrop was removed. In that moment, the number took on new meaning within this social-influencer interpretation.

Millie Dean’s Simon was an inspired piece of rethinking, the female vocal line bringing a welcome freshness to the role. Her performance culminated in a thrillingly delivered ‘Simon Zealotes’, which allowed her to use her belt to full effect.

Jack Barry’s Caiaphas and Ryan Smith’s Annas formed a suitably menacing alliance. Their voices blended well, and Barry, in particular, made a strong impression with a resonant bass that gave the scenes real weight.

Oliver Squires brought a rich baritone and a welcome seriousness to Pilate. ‘Pilate’s Dream’ was a poignant highlight in the first act, and he matched it later with an equally compelling ‘Trial by Pilate’.

The Herod sequence was among the production’s most successful reinventions. Reimagined as a chat-show host, Adrianna Furneaux turned the number into a sharply observed comic set piece, with the backing vocalists neatly recast as a television production team. It was inventive, funny and one of the evening’s clear highlights.

As Jesus, Connor Love-Foster carried the evening with impressive assurance. It is one of the most punishing tenor roles in musical theatre, demanding both vocal stamina and emotional credibility, and he supplied both. The singing was exceptional, and the performance as a whole confirmed a considerable stage presence.

This was an ambitious and often compelling reimagining of a much-loved musical. While the video footage did not always have the polish it needed to support the central concept, the production nevertheless demonstrated imagination, commitment, and no shortage of theatrical flair. Sarah Brodie (Director), Gaz Brown (Musical Director), Abigail Longworth (Choreographer), and the wider cast and creative team can take real pride in a production that was both engaging and adventurous. Well done to all involved.

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