Jesus Christ Superstar as presented by L.O.S.T

Society name: Light Opera Society Tralee

Show name: Jesus Christ Superstar

Adjudicator date of attendance: 26/02/2025

Brief Overview and Evaluation of Front of House

Jesus Christ Superstar is a challenging piece of musical theatre—vocally demanding, emotionally charged, and requiring a firm grasp of symbolism and story. Light Opera Society Tralee’s production demonstrated ambition and commitment, with moments of striking visual beauty and well-thought-out staging choices.

The evening was well organised from the moment audience members entered the venue. The front-of-house team were warm and welcoming, creating an atmosphere of anticipation and support for the company. This is a society clearly held together by a dedicated and enthusiastic community, and that spirit was very much in evidence. The production tackled a difficult score and layered story, offering audiences a thoughtful and contemporary interpretation. While there were certainly areas that could be developed further, it is important to acknowledge the hard work and genuine heart at the centre of this performance.

Director- Direction and Production

Grainne O’Carroll’s direction was anchored by a clever and consistent visual language. The stage design and symbolic use of space—particularly the large crosses placed downstage left and right—were striking in their simplicity. These crosses provided not only visual focus but thematic weight, beautifully foreshadowing the inevitable crucifixion. The choice to have the priests positioned atop these crosses gave a hauntingly prophetic air to the early scenes. Most evocative of all was the image of Jesus sleeping upon one of these structures, directly reflecting his eventual fate. These were thoughtful, poignant choices that added depth and cohesion to the production.

Grainne’s blocking was, for the most part, effective and well-considered. Groupings were clean and purposeful, and she used the space with confidence. What felt missing from the direction was a clear development of individual character arcs—most notably Judas. While the visual world was strong, the emotional journey of some characters was underdeveloped. Judas’ inner turmoil and descent into betrayal should be one of the show's most powerful threads. There was frustration evident but no gradual unraveling of conscience or deeper internal struggle.

A similar issue arose with the apostles. Their emotional trajectory from the intimacy of The Last Supper through to the chaos of the Arrest felt underexplored. At pivotal moments—particularly when Jesus tells them to “put away your sword”—there was a sense of detachment. The absence of any stage weaponry (or even mimed suggestion of such) diluted the tension and symbolism of this moment. These nuances are essential to draw the audience into the spiritual and moral complexities at play.

The choice to omit any suggestion of the Resurrection at the end was a bold one. While some productions choose this interpretation, it does risk leaving the narrative arc feeling unresolved, especially for audience members seeking a sense of closure or transcendence.

Musical Director- Direction and Orchestra

Musically, this production faced several hurdles. Jesus Christ Superstar has a notoriously challenging score—rhythmically intricate and stylistically diverse. Musical director Anna Connolly was supported by Grainne Carroll as Chorus Mistress. On the night I attended Aidan O’Carroll took on a significant task in leading the musical direction as conductor. While there were moments of tight ensemble singing and well-blended choral work, the overall execution lacked consistency.

One of the more noticeable issues was a lack of cohesion within the band. At various points, particularly in key transitions, instrumentalists missed their cues, creating moments of dissonance and uncertainty. While occasional hiccups are understandable in a live performance, these issues occurred with enough frequency to be distracting. 

Tempo choices were also problematic. Several numbers felt either rushed or overly drawn out. “Blood Money,” for instance, moved so quickly that Judas was clearly struggling to articulate the rapid lyrical content. Conversely, “I Don’t Know How to Love Him” was slowed to such a degree that it lost its emotional tension and began to feel like a soul ballad rather than a moment of raw spiritual questioning.

Choreographer- Choreography

Aileen Murphy took an imaginative and brave approach to the choreography. Her contemporary dance vocabulary added an abstract and expressive quality to many of the numbers, offering a unique take on a well-known musical. Her overture sequence was particularly graceful—visually pleasing and artistically polished. In terms of storytelling, it lacked a sense of narrative drive. As a standalone piece, it was elegant, but it didn’t establish the tone or plot clearly enough to ground the audience in the world of the show.

In “Simon Zealotes,” the juxtaposition of contemporary movement with more traditional musical theatre steps created an imbalance. The number would have been more effective had it embraced a single stylistic direction. However, this contrast of styles did work to great effect during the “Superstar” sequence, where the blend of genres elevated the show’s climax.

There was a missed opportunity in “Herod’s Song,” where the choreography felt under-rehearsed compared to other numbers. The energy and technical polish present elsewhere didn’t quite translate here, and it diminished the comic and theatrical potential of the scene.

A recurring issue was the positioning of principal characters during ensemble-heavy numbers. In “Simon Zealotes,” both Simon and Jesus were relegated to the sides, while the chorus took centre stage. This drew attention away from the key figures and muddied the dramatic focus. Similarly, in “Everything’s Alright,” the lyrical dance behind Mary Magdelene, while beautifully performed, detracted from one of her most poignant solos.

Aileen clearly has a strong choreographic vision, and the cast delivered her routines with passion and skill. With some refinement to ensure storytelling remains central, her work has the potential to truly soar.

Leading Principals – Singing and Acting

Jesus – Marcus Nolan: Marcus brought a calm serenity to his portrayal of Jesus, which at times suited the spiritual tone of the character. This often translated into a lack of command on stage. In the earlier scenes, Jesus seemed reactive rather than proactive—being moved by the direction rather than moving with purpose. That said, Marcus found his emotional core in Act 2. His performance in the whipping sequence and during Pilate’s judgment was raw and deeply moving. He showed vulnerability and pain in these moments, drawing the audience into Jesus’ suffering. With a stronger sense of agency in Act 1, Marcus could have developed into a compelling leading presence.

Judas – Sean McElligott: Sean tackled an extremely demanding role with bravery. There were moments where he appeared vocally under pressure. Dramatically, the arc of Judas’ journey was not fully realised. His shift from frustration to betrayal and ultimately to despair is the emotional backbone of the show. Here, it felt as though all three states existed at once, rather than evolving progressively. Sean has a powerful presence, more emotional variation and vocal control would help him fully embody complex roles such as this.

Mary Magdalene – Lauren Glennon: Lauren gave a sensitive and graceful performance. Her vocal tone was warm and soulful, and she delivered her solos with heartfelt sincerity. “I Don’t Know How to Love Him” was lovingly sung, although the slow tempo worked against her at times. Dramatically, she brought a softness and genuine care to Mary Magdalene. She found the tenderness in the role and has the potential to develop this into a truly magnetic presence.

Supporting Roles – Singing and Acting

Pilate – Lloyd Fitzgibbon: Lloyd has a naturally smooth vocal tone that was pleasant to listen to. His portrayal of Pilate slightly lacked the internal conflict that defines the character. The pivotal dream sequence and later confrontation with Jesus needed more psychological depth. Pilate is a man torn between politics and conscience, and this tension was not fully explored.

Simon – David Lynch: David brought energy and enthusiasm to his role. His vocal performance was strong, and he demonstrated real charisma. Unfortunately, his physical positioning during “Simon Zealotes” limited his impact. Given more central staging, David’s natural dynamism could shine more fully.

Peter – Denis Moroney: Denis has a gentle, tuneful voice. His challenge now is to deepen the emotional expressiveness in his facial performance. In such an emotionally charged role, subtle changes in expression can add tremendous weight to a performance.

Annas – Padraig Harrington: Padraig gave a solid and confident performance. He projected strength and authority, and his voice carried well. He made a compelling antagonist without slipping into caricature.

Caiphas – Liam Brick: Liam’s voice has a lovely tone, though the lowest notes were a stretch. His physical presence needed more assertiveness—Caiphas should be an imposing and commanding figure, and that gravitas wasn’t fully there. However, there is clear potential in Liam and his thoughtful approach was evident.

Herod – James Brennan: Herod’s number is often a comic highlight of the show, but unfortunately, it didn’t quite land here. James struggled to establish the nuances of the character, however there was no denying energy and theatricality of the performance. His accent inconsistencies distracted from the performance. Greater clarity in direction would have elevated this role considerably.

Chorus and Ensemble – Singing, Acting and Choreography

The ensemble was technically excellent in dance and vocally well-prepared. Their execution of Aileen’s choreography was precise and dynamic. The acting element lagged behind. Emotional engagement and facial expressiveness were lacking in many key moments. Scenes such as “The Temple” and the climactic “We Need Him Crucified” fell flat because the ensemble didn’t appear to believe what they were singing. Their energy and talent were evident, but they must connect emotionally to the story in order to serve it fully.

In musical terms, the chorus sang with strength, though the sound mix did not always do them justice. Harmonies were mostly clear, but an imbalance in mic levels meant certain voices dominated at times, affecting blend and cohesion. This is a group with enormous potential. With further attention to characterisation and emotional commitment, they can become a powerful storytelling force.

Stage Management and Set Design

The set design was minimal but effective. The Roman aesthetic was consistent and visually pleasing. The use of flats with raised crosses towering over the cast was a particularly evocative touch. Given the scale of the theatre, there may have been scope to make the Temple setting more imposing to reflect the might of Rome.

Scene changes were minimal and efficient, though only one occurred—the table reveal at the top of Act 2. This simplicity worked, it also placed more pressure on lighting and movement to delineate space and time.

Technical – Light and Sound

Lighting was a real strength of this production. The colour palette was rich and complementary. The light-up crosses added a beautiful, sacred quality in some place, but changing them to red during the lashes added a layer of terror. The atmospheric use of slatted walls down stage created depth and mood. More care was needed in some cue placements—particularly in a key interaction between Jesus and Judas before “Blood Money,” which was backlit so heavily that we missed their expressions. I would also consider not lighting the band, as with the haze the beams distracted from the overall impact of the beautiful scenes behind. 

Sound, by contrast, was problematic. A considerable amount of missed cues and inconsistent mic levels created distractions. The mix lacked balance, particularly in chorus numbers, where harmony lines were occasionally lost or overwhelmed.

Visual – Costumes, Hair and Make Up

Costumes were thoughtfully designed. The neutral desert palette worked well with the set, and the style of them complimented the movement. Mary Magdelene’s costume was a highlight—both symbolic and flattering. Small enhancements, like more elaborate detailing for Pilate and the soldiers, could elevate the overall visual impact. A reminder to ensure underwear colour doesn’t disrupt the clean aesthetic!

Hair and makeup were simple, tidy, and appropriate for the tone of the production.

Adjudicator’s Suggestions and Overall Comments

This was a sincere and brave production of a complex musical. Light Opera Society Tralee should be proud of what they achieved. The visual world was coherent, and many performances showed real heart.

To move forward, focus is needed on emotional storytelling, especially in the development of character arcs. Music direction requires more precision and consistency to support the vocal demands of the show. Choreography, while impressive, must always serve the narrative first.

With strong leadership and a continued spirit of collaboration, this society has all the tools to keep growing and delivering memorable productions. Bravo to all involved.