andrew lloyd webber - Whats The Show

Jesus Christ Superstar

11/03/2026 Tracey Stafford

Jesus Christ Superstar Rating

★★★★★

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The Redcliffe Musical Theatre Production of Andrew Lloyd Webbers Jesus Christ Superstar has completely left audience members robustly cheering whilst ascending from their seats in appreciation of this spectacular local production.

The main cast members consisting of Jeandre Le Roux as Jesus, Erickson Ilustre as Judas, Stephanie Collins as Mary Magdalene, Jonathan Johns as Pilate and Kuna Smith as Simon Peter, were supported by an amazing local cast of performers as they enthusiastically brought the production to life. Whilst Act 2 section 6 consisting of Jake Hollingsworth who plays King Herod, completely stole the show by winning over the audience with his cheeky musical performance of King Herod’s Song.

Jeandre Le Roux who plays Jesus arrived on stage to both cheers and applause showing a respectful amount of acknowledgement from his fanbase within the audience and sharing with us his skills as a Tenor. Jeandre’s outstanding vocal ability shone as he progressed through each song as Jesus, projecting his vocals to each audience member.

An outstanding performance was given by Stephanie Collins as Mary Magdalene performing the classic ballad “I Don’t Know How To Love Him”. As an avid fan of the song for many years, I was engulfed in goosebumps with the tone and passion of the performance. The vocals of the support cast excelled and effectively aided each of the main cast as a fully functioning team whilst also providing effective dance performances and highlighting the true meaning of live musical theatre.

Due to the setting and the historical elements of the storyline the use of smoke and simple yet effective use of beige and khaki outfits for the costumes, represented the time period of the story as this was believed based on the visuals whilst effectively showing emotions via carefully crafted dramatic expressions. The Last Supper settings were simplified with the Apostles, Jesus and a very sparce table setting which considering when the storyline was set, was perfectly situated within the stage.

Set design was kept in a simplistic design of metal platforms and higher situated balcony’s in order to showcase the performers and not have a focus on fancy over designed pieces which based on the storyline was not in a need to be overly occupying of the stage space.

Lighting highlighted different sections of the production which in turn allowed the main performers to be thrust into the spotlight allowing them to shine when it was their turn to tell their story. The music was provided by a band consisting of modern day pieces such as electric guitar, drums, flute and a percussion section which made a highly effective impact for dramatic pieces of the storyline.

Although a modern day rendition of an original much loved London musical by Andrew Lloyd Webber and Tim Rice it has since its first stage incarnation on 12 October 1971 at The Mark Hellinger Theatre in London made an impact for many decades around the world with its cast carefully crafting the drama and cruelty of the past.

Jesus Christ Superstar is a theatre must-see.

To book tickets to Jesus Christ Superstar, please visit https://www.redcliffeentertainmentcentre.com.au/.

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Stunning Production of CATS: Not To Be Missed!

13/02/2026 Calliope Skye🥉

Cats The Musical Rating

★★★★★

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Andrew Lloyd Webber’s “CATS” is a stunningly colourful and athletic musical that audiences, young and old, thoroughly enjoyed on Sunday evening’s performance.

Upon walking into the theatre, we were greeted by the backdrop of an alley, scattered with fantastical depictions of trash or lost items. Festoon lights were hung around the stage and across one of the bannisters above the audience. Many platforms and footholds were around the stage, which gave the cats many places to enter scenes, hide, and leap from.

While a good portion of the show included basic white wash lighting, flashing lights/strobe, pyrotechnics, and different coloured lighting created the desired effects and were appropriately timed. Costumes and Makeup were stunning and thoughtfully crafted, and I could hardly take my eyes away from the intricate details and grungy aesthetics.

As someone who had not seen CATS in person before, I was unaware of the more interactive aspects of the show. Occasionally, some of the cats would enter the audience via the front two rows. They would play with the strap of someone’s purse, bump paws with audience members or serenade them. It was an interesting way to break the fourth wall and keep people engaged. Those who book their seats close to the stage should be made aware of this ahead of time.

All dance routines were highly polished and were done to seem effortless. In between routines, each cast member maintained their character by including feline mannerisms in their recline. Dance intervals featuring the White Cat (Claudia Hastings) and Mr Mistoffelees (Tim Haskayne) were especially memorable and very impressive. As well as their poise, apparent professionalism and acrobatics, support from the remainder of the cast really brought each of the performances together seamlessly.

The audience thoroughly enjoyed songs such as “Mr Mistoffelees,” “The Rum Tum Tugger,” “Gus: The Theatre Cat,” “Skimbleshanks, the Railway Cat,” and of course, the much beloved “Memory,” and its reprises. All vocals were fantastic and blended well, with notable mentions to Des Flanagan (Rum Tum Tugger), Jarrod Draper (Munkustrap), Mark Vincent (Old Deuteronomy) and Gabriyel Thomas (Grizabella). It is a highly enjoyable experience to see cast members have fun doing what they do best, committing to their roles in such a way that seems effortless.

From the costumes to the effects, everyone who plays a role in making CATS what it is did a fantastic job, and I highly recommend this production.

To book tickets to Cats The Musical, please visit https://catsthemusical.com.au/.

Photographer: Daniel Boud

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Cats

14/11/2025 Manuela Kacomanolis🥈

Cats The Musical Rating

★★★★★

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The opening night of Andrew Lloyd Webber’s Cats at the Crown Theatre, Perth, delivered a polished, high-energy revival that showcased the production’s enduring strengths of choreography and crystalline vocals.

The long-running musical has been entertaining audiences since 1981 but for prospective patrons unfamiliar with Cats, don’t attend the show expecting a plot or even any dialogue. You will have a much better appreciation for it if you go for the exquisite dancing, singing and overall visual extravaganza. Cats is more a sequence of character portraits of the feline characters stitched together by a very thin storyline about a Jellicle Ball for all the Jellicle cats.

The show made more sense when I discovered that it was based on a series of poems from TS Eliot’s “Old Possum’s Book of Practical Cats” dating back to the 1930s. It is these poems that inspired the legendary Mr Webber to convert them into a musical.

I cannot fault any of the dancing or singing. The cast performed with remarkable precision and athleticism, sustaining demanding choreography. The unison work in the larger ensemble numbers was exceptionally tight. It is evident that the dancers are professional ballet and classical jazz dancers. The production’s success lies in the cumulative power of its choreography and vocal pieces rather than narrative complexity.

Bringing the cats to life are the dazzling costumes and richly detailed makeup which I was fortunate enough to see up close. Throughout the show, the performers would integrate themselves within the audience, purring, stretching and leaping up and down the aisles of the theatre.

The production’s scenic design embraces the junkyard setting, transforming the stage into an immersive, feline-sized world. An old oven, a rumpled shirt, car tires, these are rendered at magnified proportions so that the performers read unmistakably as cats in an oversized human environment.

The integration of car engine and police sirens sound effects and a sweeping “torch” effect as the cat ensemble scatter in hidden spots, transforms the junkyard into a living, reactive environment without relying on dialogue.

Gabriyel Thomas delivered a standout solo performance as the weary Grizabella The Glamour Cat, belting out the iconic Memory song.

Tim Haskayne was outstanding in his jazz ballet routine as the Magical Mr Mistoffelees who delivered a mesmerizing performance with impeccable control and grace.

I found it especially amusing and admire the dedication of one of the performers who remained on stage in character for the duration of the interval.

This staging of Andrew Lloyd Webber’s Cats operates with a first-class polish that flows with effortless precision. It is more a mixture of a ballet performance and a musical rather than a conventional musical and in its entirety a form of art to enjoy.

To book tickets to Cats The Musical, please visit https://catsthemusical.com.au/tickets/perth/.

Photographer: Daniel Boud

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Jesus Christ Superstar: A Modern, Mesmerizing and Immersive Experience

07/07/202507/07/2025 Paul Ellicott🥉

Jesus Christ Superstar Rating

★★★★★

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It’s opening night in Brisbane after a successful Australian tour, and there is no denying that Jesus Christ Superstar rises again. For those uninitiated, the action focuses on the final days of the man himself, culminating in his crucifixion. However, this is no ordinary bible story – nor ordinary musical; Jesus Christ Superstar is conceptual rock n roll, and this production brings the classic firmly into 2025, with the help of eminent Australian pop, rock and soul musicians, inspired choreography, and exemplary calibre of cast. This is a show even for people who don’t typically enjoy music theatre, while still delighting those of us who do.

I’ve seen Jesus Christ before, both the fantastic 1973 movie and an enjoyable high school production many years ago, which featured my sister in the orchestra. However, it has been long enough for me that events unfolding seem surprising and fresh, while I realize the master plan toward which they culminate. This interpretation feels right now but retains the campy strut and sensibility of early iterations; A feature of Jesus Christ Superstar is how well it translates into different eras, being so beautifully open to experimentation.

As Jesus, Michael Paynter’s singing is exceptional, with clarity, control and conviction. An experienced professional musician with success in the pop charts, this show is Paynter’s first foray into the musicals; While I consider that he grows in stature throughout the performance (he is firing on every cylinder in the second act), the more I think about it, his calm, innocent, nearly boy-like portrayal in the first act is an appropriate and effective character choice.

Mahalia Barnes as Mary is also new to musical theatre; However, JCSS can be fairly considered part of the rock realm, so more her world than most musical theatre. Like Paynter, she is a music industry veteran, and a beautiful interpreter of song; She gets to sing some of my personal favourites in this show, giving soulful tone and connection, while radiating wholesome beauty. Her duet with Peter (Tana Laga’aia) is notable, bringing some gentler reflection into the strident second act.

As the flamboyant Herod, Reuben Kaye’s beauty is somewhat less wholesome than Barnes’s, but nonetheless riotously evident. Kaye is a force of nature, and while his stage time is shorter than the other cast, his presence is indelible, eating up the stage with electric energy, sinister sexuality and some impressive vocal histrionics – spanning from gargle to whistle and back again. No stranger to controversy himself, and certainly willing to ‘go there’ (watch his 2023 interview on The Project re: his love of Jesus, if you’re unfamiliar/not easily offended), Kaye goes all out as Herod, his courage and charisma perfectly cast in the role.

Javon King as the maligned but misunderstood Judas blends exuberance and anguish into a very memorable portrayal. Judas gets some of the show’s absolute banger musical numbers, and King handles them royally, with soulful elevation and powerful falsetto. While remembered for his betrayal, Judas is a complex character with arguably noble intentions, who errs, then cannot bear the burden of his own conscience. King captures these contrasts with phenomenal energy, nuance and commitment.

Other especially memorable performances are given by Elliot Baker, oozing machismo as Caiaphas, and Graeme Isaako, giving grit and sincerity as Simon. The standard of the whole cast is superb, and the production feels alive and in the moment. This show is not about main members singing stationarily in the spotlight, but rather the entire cast exploding throughout the stage, creating texture and dynamism both visually and narratively.

Special mention must be given to Choreographer Bree Tipoki, for her input behind such a captivating feature of the show; The dance and movement bring fascinating life and shape to the stage, and to the story. The live band, costuming, stage design and lighting are all dialled into the highest professional standard. As a whole, Jesus Christ Superstar gives life, as the plot takes one away. Yet, there are no sins to speak of; The shows deeper commentary on society’s casual detachment, desensitization and perverse voyeurism toward the suffering of one we raise up only to smack down – is thought provoking. Each distinct element blends vibrantly to create a modern, mesmerizing and immersive experience, that should not be missed.

To book tickets to Jesus Christ Superstar, please visit https://www.qpac.com.au/whats-on/2025/jesus-christ-superstar.

Photographer: Jeff Busby

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