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Jesus Christ Superstar – Therry Theatre

26/07/2026 Rob McKinnon🌟🎭

Jesus Christ Superstar Rating

★★★★★

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Review: Jesus Christ Superstar – Therry Theatre

Therry Theatre has produced a joyous and excellent version of Jesus Christ Superstar receiving a standing ovation on the opening night adding to their outstanding history of superb musical productions – the whole season is sold out but beg, borrow or steal a ticket if you can!

Arguably Jesus Christ Superstar is Andrew Lloyd Webber and Tim Rice’s best musical/rock opera and the third they had written together, but not being able to find financial backing they initially were forced to release it as a concept album in 1970 which featured Murray Head, Ian Gillian and Yvonne Elliman. After the success of the album, it debuted on Broadway in 1971 then it ran for over eight years in its West End production holding the record for the longest running musical until it was overtaken by Cats in 1989. It has also travelled the world including highly successful Australian versions and was revived in the West End this year. If the Therry Theatre felt any pressure from this huge past success, they shouldn’t have because they have done an impressive job of the material.

Well past the point of worrying about spoilers of this story, after the Overture, Act 1 begins with Judas (Daniel Hamilton) concerned about followers of Jesus (Nicholas Munday) getting out of hand and threatening the establishment with the song ‘Heaven on Their Minds’. The apostles ask Jesus about his plans, but he tells them not to worry with ‘What’s the Buzz’. Judas reproaches Jesus about his relationship with Mary (Rebecca Pynor) ‘Strange Thing, Mystifying’. Caiaphas (Chris Coulter) and Annas (Parisya Mosel) and the High Priests plot Jesus’ downfall with ‘This Jesus Must Die’. This leads to one of the best songs of the musical/rock opera of ‘Everything’s Alright’. Then as Act 1 progresses another highlight of ‘I Don’t Know How to Love Him’ is wonderfully performed by Pynor.

Act 2 leads through Judas’s betrayal of Jesus, his trial then an absolutely brilliant version of ‘King Herod’s Song’ with Herod (Toby Strudwicke) and his courtiers dressed as clowns and tap dancing. The act then moves through to a glorious version of ‘Superstar’ and a respectfully handled crucifixion.

The set design by Ben Todd and the construction crew have produced a very useful and versatile space which easily switches from outdoor meeting places to indoor palaces. The Musical Director, Matthew Rumley and the band are to be commended for a great performance, if there were any missed notes they went unnoticed. Rebeka Stonelaitken’s choreography fits the production perfectly as well as the mix of old and new costumes.

Ben Todd’s direction has led to a magnificent production. In the leads, Hamilton, Munday and Pynor are stellar along with the rest of the spectacular cast.

As a testament to what audiences knew Therry Theatre would produce with this production of Jesus Christ Superstar, the whole season was sold out well before the opening night.

Reviewed by Rob McKinnon
Rating; 5/5

Jesus Christ Superstar runs 23 JULY – 1 AUGUST 2026
Venue: Arts Theatre, 53 Angas Street, Adelaide
Tickets: Sold Out

To book tickets to Jesus Christ Superstar, please visit https://therry.org.au/.

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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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