REVIEW: Smile Musical Youth Theatre’s Jesus Christ Superstar

‘A Compelling & Dazzling Triumph’

★★★★★

Jesus Christ Superstar is no small undertaking. With its vocally demanding score, emotionally charged narrative, and complex choreography, Andrew Lloyd Webber’s iconic rock opera presents a formidable challenge to even the most seasoned performers. For a youth theatre to take it on requires courage, talent, and vision. Smile Musical Youth Theatre not only met that challenge – they smashed it out of the park with a production that was bold, beautifully executed, and moving.

From the moment the first notes of the overture rang out, it was clear this wasn’t just another youth theatre performance. This was theatre with ambition, crafted with a level of polish and precision that rivalled professional productions. The static but visually impactful set immediately immersed the audience in a moody, almost dystopian Jerusalem, with sombre tones and stark imagery setting the stage for the emotionally intense story of the final days of Christ.

Visually, the show was a feast for the eyes. Jack Tustin’s lighting design (Going Dark Theatrical Services) was both subtle and striking, adding drama in all the right places and heightening the emotional beats without ever distracting from the action. The costume design by Suzanne Harris was equally inspired, blending traditional silhouettes with contemporary touches, giving the show a timeless, grounded aesthetic.

The technical aspects, sound, lights, and set were seamless, with DW Technical Services delivering crisp, perfectly balanced audio that allowed every lyric and guitar riff to ring out clearly. The live band, under the expert musical direction of Elliot Lingard and assistant Tom Fitzpatrick, was simply phenomenal. The raw energy of Lloyd Webber’s rock score was brought to life with a punchy, emotionally charged sound that drove the narrative and never let the pace flag.

Director and choreographer Joe Logan delivered a vision that was clear, cohesive, and courageous. The staging choices were slick and subtle but powerful, with symbolic movements and blocking which elevated the storytelling beyond what you might expect from a youth company. And the choreography… from the opening number to the final notes, the movement was dynamic, stylised, and deeply expressive. The show opened with a bang – an electrifying burst of choreography that instantly drew the audience into the tension and turmoil of the show’s narrative.

Vocally, this cast was a revelation. Leading the production in the title role, Samuel Broomhall-Tighe gave a performance of immense emotional depth and vocal precision. His Jesus was human and vulnerable, never slipping into caricature. From the haunting “Gethsemane” to the tender, conflicted moments, Broomhall-Tighe brought authenticity and charisma to a role that demands both vocal athleticism and emotional depth. His interpretation was not just technically impressive – it was genuinely captivating from the outset.

As Judas, Macy O’Donoghue delivered a tour-de-force performance that was gritty, nuanced, and heartbreaking. Opening the show with “Heaven on Their Minds,” O’Donoghue immediately set the tone for the show – intense, thrilling, and magnetic. Their portrayal of Judas’s internal conflict was masterfully handled, giving real weight to the character’s arc. It’s a role that can easily veer into the melodramatic, but O’Donoghue kept it grounded, layered, and compelling.

Nancy Minaker brought a beautiful strength to the role of Mary. Her rendition of “I Don’t Know How to Love Him” was delivered with such clarity, sincerity, and emotional finesse that it became such a memorable moment. Minaker’s performance was sophisticated beyond her years, showcasing an extraordinary control of tone and expression that made her scenes some of the most poignant in the show.

Among the supporting cast, there were numerous standout performances. Josh Mills was dynamic as Simon, bringing an infectious energy to the stage. Michael Robinson gave a grounded, heartfelt portrayal of Peter. Freddie Perry as Pilate navigated the character’s arc with a strong sense of narrative and internal conflict, particularly powerful in “Pilate’s Dream” and “Trial Before Pilate.”

Taylor Simner’s Herod was a showstopper in every sense. Their take on “Herod’s Song” was flamboyant and humorous, walking the fine line between satire and sincerity, and never losing sight of the show’s darker undercurrents. Meanwhile, Makena Straker-Sharpe and Charlie McRobert gave commanding performances as Caiaphas and Annas, respectively. Their vocal power and stage presence in “This Jesus Must Die” provided the perfect dose of menace and theatrical gravitas.

The ensemble, often the unsung heroes in youth productions, were simply superb. Each member brought dedication, focus, and energy to the stage, working as a tight-knit unit throughout. Their discipline and dynamism were especially evident during set-piece moments such as the intense “39 Lashes,” which was staged with brutal clarity. The visuals of white costumes splattered in red were not only powerful – it was haunting, and one of the lasting images from the show.

The production team deserves high praise for crafting such a cohesive and professional piece of theatre. Joe Logan (Director/Choreographer), Elliott Lingard (Musical Director), Sarah Jennings (Vocal Coach), and Tom Fitzpatrick (Assistant Musical Director) clearly poured their hearts into this show, and their collaborative efforts paid off tenfold. The vision was ambitious, but the execution was flawless.

Smile Musical Youth Theatre’s Jesus Christ Superstar was nothing short of extraordinary. It was a breathtaking example of what youth theatre is capable of when given the right guidance, the right team, and the freedom to aim high. Every element, from performances to production, was handled with care, passion, and an unmistakable sense of professionalism. This wasn’t just an excellent youth theatre production; it was an excellent piece of theatre, full stop.

Smile Musical Youth Theatre should be immensely proud. This was a triumph.