Jesus Christ Superstar as presented by Teacher's Musical Society

Teachers’ Musical Society 

Jesus Christ Superstar 

Tuesday 1st April 2025 

Celebrating 25 years in existence, Teachers’ Musical Society took to the stage of DCU St. Patrick's campus, where it all began for them a quarter of a century ago. Their most recent production, ‘Jesus Christ Superstar’, was a far cry from their inaugural show ‘Fiddler on the Roof’. The dramatic pre-set, with ‘BELIEVE’ screaming at the audience from a giant LED screen, was an indication that this production was not going to follow any traditional interpretation of Andrew Lloyd Webber and Tim Rice's groundbreaking show. On the contrary, Emma Jane Reilly's unique vision determined that further ground would be broken, nay pulverised, as her highly original take grabbed the audience by the collar and made us sit up, pay attention and think. It was a beautiful production, which unfortunately fell short in one crucial technical area on the night that I attended. 

Front of house was quiet when I arrived in the foyer, with nobody waiting around. It was lovely to enter the auditorium, where much of my own formative, theatrical years were spent, to see the impressive preset and to experience the palpable sense of anticipation, “the buzz”, in the air. 

Director Emma Jane Reilly's concept and vision was quite astonishing. Her innovative take sought to capture the essence of the story whilst infusing it with a contemporary relevance. The huge LED screen was the perfect medium for her to reimagine the show through a dystopian, anarchic lens. It was a brave, visually striking departure from the norm, which breathed new life into a show that has seen many different interpretations over the years. There were so many original and dramatic touches which elevated the show's theatricality hugely. The wonderfully creative on-screen graphics added hugely to the show’s unique premise. From the Elie Wiesel quote to the brilliant, dramatic images which introduced characters, linked scenes and set locations, this element was a real touch of genius. The use of the box in preset, a nod to Pandora perhaps, was a clever theatrical device, culminating in Judas's hands being drenched in blood. The Last Supper was fabulously staged, a triumph of stagecraft and lighting. I loved the reimagining of Herod as a burlesque Queen of Hearts, complete with her canine minions. A truly memorable production from Ms. Reilly. 

Ben Cully's musical direction was hampered somewhat by poor sound on the night that I attended. This was no fault of Mr. Cully’s or the exceptional group of musicians in the band, which was housed under the scaffolding of the set. Balance within the band was not always satisfactory. In the first half of the show, keys and drums were very high in the mix, almost at a deafening level. Bass was hardly audible. Principal singing was of a really high standard throughout the show, although in the bigger numbers, it was difficult to hear lyrics. Ensemble vocals and harmonies were often overwhelmed when the band was at full tilt. To be fair, in numbers with more sympathetic accompaniment, solo and group singing were excellent. I am, of course, conscious that a musical director's positioning can have a huge bearing on what they are hearing and that the sound in the room may not have been apparent to Mr. 

Cully. An MD often has to trust the ears out front. My opinion is that Mr. Cully was let down on this occasion. 

Choreography by Nicole McDonald was vibrant and dynamic, tying in perfectly with the director's vision for the show. There were so many fabulous routines. ‘Hosanna’ was wonderful its precision of movement and its joyous, celebratory feel. The dancing ladies in the Temple were marvellously seductive, with a leering Annas enjoying every moment. ‘Herod's Song’ was deliciously decadent, brilliantly performed. ‘Superstar’ was a brilliant high point of what was an excellently choreographed show with its electrifying choreography showcasing the ensemble at their very best. 

Christopher McDonald was a serene yet intense Jesus. His character’s compassion and torment shone through, skilfully capturing both the human and divine elements of the role. Vocally, Mr. McDonald gave a seriously impressive performance. His brilliantly sung ‘Gethsemane’ was one of the best renditions of the song that I have ever heard. Every word had weight as Mr. McDonald lived every single second of his anguish and agony. Most importantly, we were fully invested and we believed every word in what was a wonderfully powerful yet vulnerable performance. Mr. McDonald’s exceptional emotional range added layers to his characterisation. A really impressive job in one of musical theatre’s most challenging roles. 

Gavin Molony gave a sensational performance as Judas, brilliantly capturing the complexity of this multi-layered persona. Mr. Molony had a stunning presence in what was a very skilled and nuanced portrayal. Judas's inner turmoil was very well played throughout. At times his vocals were quite sublime as his stratospheric range seemed quite effortless. I loved his a cappella ‘I Don't Know How to Love Him’, half sung, half spoken. It was powerfully raw and emotional as the realisation of the consequences of his actions sank in. His hands, covered in blood, smearing his face and body was a powerfully symbolic moment, brilliantly played. 

Lisa Rose McMahon played Mary Magdalene with a beautiful tenderness balanced with great inner strength. This was a deeply moving portrayal. In quieter moments, with more sympathetic accompaniment, she really shone and her stunning vocal came to the fore. ‘Everything's Alright’ was beautifully sung in a most heartfelt performance. Ms. McMahon’s signature number, ‘I Don't Know How to Love Him’, showcased the most exquisite voice with exceptional control. Her dramatic presence was also wonderful, even when the point of focus was not directly on her. 

Karl Dawson gave a gorgeous portrayal as an authoritative, yet deeply conflicted Pilate. His performance was infused with much nuance as we shared his inner struggle between his duty and his underlying humanity. Mr. Dawson had a fabulous vocal. ‘Pilate’s Dream’ was quite mesmerising. ‘Pilate and Christ’ was excellently performed and ‘Trial Before Pilate/39 Lashes’ was simply outstanding. This was a beautifully pitched, dramatic interpretation which combined stunning vocals with emotional nuance and depth. A superb all-round performance. 

Niamh Parkes turned the part of Herod on its head, playing the role as a burlesque Queen of Hearts. This was a very interesting twist, which maintained the flamboyance and cruelty of Herod's character whilst simultaneously allowing for some wildly unique choices. Ms. Parkes had a wonderfully mocking tone in ‘Herod's Song’, which was brilliantly sung with an elevated theatrical flair which was most fitting for her unique slant on the character.

Iarlaith O’Rourke was a youthful Peter but his considerable experience belied his years. He sang very well in ‘Peter's Denial and his dramatic “I don't know him!” was tinged with heartfelt guilt. His vocal in ‘Could We Start Again Please?’ showcased him at his very best and his emotional intensity was perfectly judged. 

Rob Gallagher was a very strong Simon Zealotes. He had a wonderful voice, perfectly suited to the rock genre. ‘Simon Zealotes/Poor Jerusalem’ was excellently performed and he was equally strong in ‘Could We Start Again Please?’ Mr. Gallagher had great stage presence and was also a standout amongst the apostles. 

Séamus McManus had a commanding, authoritative presence as Caiaphas. Mr. McManus gave a remarkable vocal performance, with his deeply resonant bass voice being one the musical highlights of the show. His imposing, malevolent presence contributed to what was a most memorable performance. 

The very talented Adam Trundle was a cunning and manipulative Annas. He had the most fabulous tenor vocal, contrasting greatly with Mr. McManus’ deep bass tones. He had a flamboyant, almost camp presence which really worked. I particularly loved his enjoyment of the ladies in the temple as he revelled in the excess and gluttony of the moment. 

Jim Walsh, Garrett Rodgers and Brian Dennison represented the religious establishment and had strong, authoritative presence as the high priests. Individually and collectively, they added layers of tension and drama with their exceptional stage presence. Even in still moments of observation, they worked together, creating very strong focus and contributing to the creation of many of the show’s most dramatic pictures. A superb job from all. 

Kate Gallivan, Eva Kelly and Rosie Scanlon were an interesting addition as the Fates. These three blended wonderful vocals with excellent presence, bringing great musicality and flair to ‘Superstar’. They just needed to watch their spacing during this number. A minor point in what was a wonderful performance from all three. 

The ensemble was exceptionally strong. Their incredible commitment, dramatic intent, movement and investment in Ms. Reilly's vision, was a huge part of the success of the show. Performance levels were wonderful across the board. The Apostles were excellent in their roles, bringing intensity and heartfelt emotion to their scenes. There was a wonderfully rich choral sound in ‘The Last Supper’. There was powerful dramatic work from the ensemble in ‘Trial Before Pilate/39 Lashes’, their chants of ‘Crucify him!’ building to a frenzied crescendo. 

Gerry McCann did an excellent job as stage manager. Movement of the large sets of steps by cast and crew dressed as police, could have been challenging, as timing was of the essence as one scene segued into another. However, these changes were executed seamlessly and brilliantly timed. 

The set, consisting of scaffolding, with an upper deck playing area, wire fencing and two sets of trucked steps, allowed for a large, open playing space which was very well utilised by Ms. Reilly and Ms. McDonald. An imposing cross, complete with functioning lx, flew in for the show’s climactic moment at the end of Act Two. All sense of time and location was provided through the use of the huge LED screen which was located to the rear of the scaffolding’s upper level.

Lighting was exceptional. The show was lit with dramatic flair and, crucially, a clear understanding of the narrative and familiarity with the score. Timing is always a key element when lighting musical theatre. A fraction before or after the beat with a cue can make all the difference. Thankfully, things were in good hands on this occasion. ‘Heaven on Their Minds’ was most impressive as the stage was transformed with well-chosen colours and dramatic beams. ‘Pilate's Dream was beautifully lit in a blue wash which complemented the moon graphic perfectly, with plenty of atmospheric haze adding to the ethereal feel. The dramatic beam cutting through haze from overhead for Mary Magdalene's ‘Everything's Alright’ was beautiful in its simplicity and very effective. The timing of the 39 lashes was incredibly impressive. Not one beat was missed. ‘Trial Before Pilate/39 Lashes’ looked stunning and an equally stunning job was done for the Crucifixion which was a visual triumph with the lx on the cross adding greatly to the dramatic spectacle. Overall, this was a wonderful lighting plot with exceptional operation. 

It is important for me at this point to acknowledge the incredible visual elements on screen which added so much to the overall aesthetic. These graphics were absolutely outstanding and Ms. Reilly has to be complimented hugely for creating such detailed, evocative and visionary digital backdrops which complemented her vision so well. 

Unfortunately, on the night that I attended, opening night, there were significant problems with the sound. I must preface this by saying that, in my opinion, these problems were not due to opening night technical glitches. There were no late cues, which there often can be on opening night. There were a few different issues, in my opinion. 1. EQ levels needed to 

be addressed for some performers. 2. There was a considerable imbalance between instruments in the band. 3. The overall gain levels of the band were too high, especially in Act One. To be fair, there was some improvement in Act Two. All of that said, there were some lovely moments too. ‘The Last Supper’ had a good spread of radio mics and sounded very well. Throughout the show and in lighter moments, where vocals sat comfortably on top of accompaniment, things sounded very well. 

Props were very well looked after with nice attention to detail throughout. I loved the priests' cobra canes. The box at the top of the show, which became an important theatrical device, was a wonderful piece. The way it was lit from inside, illuminating Judas’s face, was a clever touch. It's funny how something as small as Jesus' dog tags registered with me as they caught the lights and reflected into the audience. All other props appeared to be very well chosen, such as lanterns and of course Jesus's crown of thorns. 

There was exceptional work on hair and makeup from Jesus’ wig to his wonderful buzz cut in his orange jumpsuit. I loved the uniformity of the Fates’ blonde bobs and Annas's wig set him apart as a very distinctive character. The dancers in the Temple had a suitably seductive look. Mary Magdalene's wig was well chosen and the overall look and attention to detail throughout was most impressive. 

Costumes aligned perfectly with the show's overall aesthetic of a modern, urban dystopia. I loved the look for Caiaphas, Annas and the priests who looked very sharp and intimidating, their costumes adding to the malevolent feel. The dancing girls in the temple looked wonderful in their red and black and the black hoods for the lepers worked really well. Jesus Christ's orange prison uniform tied in perfectly with the overall vision and Herod's fishnets and burlesque, Queen of Hearts look was a triumph. 

This was an exceptional production by Teachers’ Musical Society which blended traditional 

storytelling with highly creative visual elements. Its success was largely down to the director’s original, brave and clever choices and the wonderful work carried out by a very skilled production team and a stunningly talented cast. The show looked amazing thanks to bold creative choices and admirable attention to detail. I have no doubt that the sound issues which I experienced on opening night improved as the week went on. Twenty-five years is a wonderful milestone for a society to reach. Congratulations to the current custodians and very best wishes to all of those who will carry the society through the next quarter of a century. 

Pat McElwain 

Gilbert Adjudicator 2024/2025

Photographer credit: Seamus Fearon