Must die, must die, this Jesus must die.

One show always has a special place in my heart as it was that of my first time on stage. I had also seen it twice before, professionally, but never an amateur or in this case, a youth version. I was, therefore, delighted to be invited back by Smile Musical Youth Theatre to review Jesus Christ Superstar.

An excellent Front of House full of gift stalls and many raffle prizes (I won two), and friendly volunteers to give help where needed. And with my history of this production, I was looking forward to (even with me being an atheist) enjoying a musical about Jesus. Well, I treat it as any other work of fiction.

JCS tells of the last days of Jesus Christ, his betrayal by the ones around him and the persecution from those whose stability of power he threatens. I hate to go on yet again about having done this show, but when the opening guitar chords of Overture sounded, I had goosebumps. We were immediately introduced to the insurgent, James Alphaeus (Grace Paskin) who delivered a wonderful solo lyrical dance while being confronted by the black clad aggresion representing authority.

Straight away I was drawn to the costumes (Courtesy of Suzanne Harris), which for the rebels, could easily have come from my wardrobe. Yes, Harem Pants galore, which of course, I approved of. As mentioned already, black was the theme of oppression and this went for all in that category, be it Roman or Jewish Authority. On stage we had a static set which works well in this show, made all more atmospheric by the excellent lighting provided by Jack Tustin from Going Dark Theatrical Services. I must also credit the sound (DW Technical Services) which apart from one brief bit of feedback was otherwise faultless. But I have talked enough tech; on with the show.

In the role of JC was Samuel Broomhall-Tighe who I have seen a few times now, and this was by far his best performance of an already high caliber. Outstanding in Gethsemane and Poor Jerusalem, among others. In fact, this was the best Jesus I have seen from an auditorium, and I’ve experienced Glenn Carter in the role. What I also liked about Smile’s Jesus was the freedom to break from the clichéd version of having him look like a 1970s Bee Gee. Here we had what appeared a normal guy; a good stamp of individuality for this show.

Onto Judas and another first in my experience in the fact that the role was female. Macy O’Donoghue was simply amazing, excelling in Heaven on our Minds and Damned for All Time, while leading well in Superstar. Then, together with Samuel Broomhall-Tighe, the vocal battle between Judas and Jesus during The Last Supper. An especially powerful Judas, also topping those I had seen professionally. As Mary Magdelene, Nancy Minaker completed the trio of better than the professional, in my opinion. So strong from the earliest appearance and perfection and power during I Don’t Know How to Love Him.

Supporting well in solo songs were Josh Mills (Simon the Zealot) in Simon Zealots, Michael Robinson (Peter) during Could We Start Again Please, Freddie Perry (Pilate) in Pilate’s Dream and The Trial and finally, the gloriously OTT Taylor Simner as Herod in Herod’s Song. Then you had two more figures of authority as heads of the priests in Makena Straker-Sharpe (Caiaphas) and Charlie McRobert (Annas). This Jesus Must Die (Always a favourite of mine as it included my first ever lines) had those goosebumps rising again.

The remainder of this excellent cast not already mentioned were Hannah Allsop (Andrew), Isabella Fitzpatrick (James Zebedee), Amelia Perry (John), Katelyn Elizabeth Harper (Bartholemew), Evie-May Smith (Matthew), Annabella Nneka Amogu (Thaddeus), Violet Flynn Jones (Phillip), Cian Grayson, Cat Allsop, Maxwell Ridley (Priests), Molly-Ann Oakley, Isla Smith, Ezme-Jean Forbes-Moore (Soul Girls) with Jackson Tomkys, Libby Sandle and Georgia Haynes completing the ensemble.

There was so much to love about this performance, and I was mesmerised by all the blood in 39 Lashes and even more so by the surreal image of those dressed in white singing Superstar, complete with splatter. The production team of Joe Logan (Director and Choreographer), Elliot Lingard (Musical Director), Sarah Jennings (Vocal Coach) and Tom Fitzpatrick (Assistant Musical Director) can be well pleased with the results of months of hard work.

You can tell I have enjoyed a show when a review is so easy to write, as in this case. One session taking 60 minutes, 800 words with only the minimal editing. Best version of Jesus Christ Superstar I have seen. Well done all.

Cheers.

Antony N Britt

*Photos courtesy of Smile.