“An ambitious take on Lloyd-Weber’s classic and chaotic rock-opera“
As soon as the iconic opening riff of Jesus Christ Superstar rang out in the Festival Theatre on Wednesday night the auditorium settled into a chilling quiet. The sole guitar held the audience on the edge of its seat until the lights came up to reveal the poised cast, just shy of 100, and a stripped back, imposing set. The first note I took during the performance: oh, what an opening!.
Southern Light’s 2025 production has taken the Festival Theatre stage by storm, filling the space with a huge and talented cast, taking on such a legendary and complicated score with confidence.
Direction from Fraser Grant fashions Southern Light’s large ensemble into a chorus reminiscent of more traditional operas, looming in the background throughout. This presence is imposing, as the ensemble are always observing, filming, and whispering in the shadows, but it did become a distraction at other points in the show. During crucial, emotional moments in the production, such as Gethsemane and Damned For All Time, the chorus’ torch-lit presence felt a little too intrusive, perhaps not as impactful as intended. Directing such a large cast on such a vast stage is commendable, though, and Grant clearly has a knack for it, there were just moments where a pause from the oratorio staging and ever-present chorus would have been welcomed. Also part of the set design team alongside James Gow, Grant’s vision for the production was original, blending the abstract and realistic together. There were a lot of elements to the set beyond what was physically on stage, with camera crews, shrouds, spray paint and phones used throughout to place us in a more modern era, exploring ‘Christ as Celebrity’. Overall, this paid off, it was definitely an inventive vision for the opera. At times there were perhaps too many things all at once, but then again this was conducive to the sense of chaos that characterises much of the production. Gow’s lighting design also had this sense of over-ambition in places, lagging spotlights were particularly distracting.
Musical director Fraser Hume, assisted by Evie Alberti, has done a great justice to such an iconic score. Holding the 11-strong orchestra with confidence, Hume’s conducting was incredibly effective and supported the cast throughout to create a truly polished sound. When combined with choreography from Louise Williamson, this production really found itself in the larger, more upbeat numbers such as King Herod’s Song. A real standout moment of the whole production was Simon Zealotes/Poor Jerusalem. Led by Gigi Guyot as Simon, this energetic dance number filled the stage with conviction and skill. The incorporation of gymnastics, a little Fosse influence in Herod’s number, and several featured dancers felt very well placed, allowing everyone to have a moment to shine and add to these more vibrant numbers. The 12 apostles contributed to this sense of energy, moving as an obviously close-knit and engaged group. Throughout, Lara Kidd’s captivating Mary could be found with this group. Kidd’s apparent return to theatre is a great success, her characterisation appears extremely professional and considered, holding both the audience and her cast-mates on her every word. Kidd gives Mary a playful edge, interacting earnestly with Peter, poking fun at Judas, and ever supportive of Jesus, there was a real humanity to go alongside some stunning vocals.
Colin Sutherland (Jesus) and Ethan Baird (Judas) maintain a believable and affective battle from start to finish, both in characterisation and powerful vocal performances. From his first entrance, Baird is unwavering in his commitment to Judas’ demanding numbers, giving a practiced blend of belt and breakdown. Mostly mirroring this energy, Sutherland’s Jesus is confident and commanding, with vocals to match. A little variation in volume and emotion would’ve developed this performance even more, but such an accomplished role has here been performed admirably.
Other notable performances from classically-pompous Herod (Stephen Boyd) and some Matrix-esque Priests (led by Nathan Auerbach’s Caiaphas) rounded this production’s sense of imposition and action well. A special mention must be given to Darren Johnson’s Pilate, an extremely well measured performance that balanced an immense amount of detailed emotion both physically and vocally. Trial Before Pilate is long and notoriously difficult to keep engaging, but Johnson’s performance was acted tremendously, there was surely not an unengaged eye in the room. Overall, Southern Light has produced an energetic, confidently-led iteration of a famously demanding show. Standout performances blended with a confident ensemble makes this a very engaging night at the theatre.
Jesus Christ Superstar runs until the 10th of May at the Festival Theatre. Tickets are available here.