Jesus Christ Superstar as presented by Tullamore Musical Society

Public Adjudication 

Tullamore Musical Society 

Jesus Christ Superstar 

Friday 21st February 2025 

Tullamore Musical Society presented the iconic musical ‘Jesus Christ Superstar’ to a capacity audience at the wonderful Eskers Arts Centre. It was a most exciting, exhilarating and thought-provoking production which blended the more traditional elements we have come to expect with a brave modernised vision which breathed new life into a tried and tested classic. 

Front of house was a most welcoming experience and how wonderful it was to see the photographic displays showing the rich history of the society and its generations of local families who have been part of their many productions over the last seventy years. The atmosphere in the Esker is always electric but there was a palpable sense of something special in the air as we entered the auditorium. 

Art McGauran's innovative direction was a huge part of the show's success. Each scene transitioned smoothly into the next, ensuring a most impressive flow to the production. Attention to detail in characterisation was exceptional. Indeed, there were some very bold casting choices, which I don’t mind admitting I initially dismissed as a concept. But what do I know?! How very wrong I was. Dramatic pictures were created all through this show with the fabulous use of a multi-level set allowing for some beautiful visual highlights. Mr. McGauran captured the dramatic tension which is at the heart of JCS so well. There was brilliant coordination of Judas’ hanging with the lighting operator, which was perfectly timed. I did feel that a well-chosen sound effect might have added even more to what was an already brilliantly dramatic moment. The lashes were so real, so violent and so brutal. The audience’s discomfort was palpable, exactly as it should be. A superb job all round. 

Musical director Enda O'Connor did an excellent job with this show. His brilliant orchestra, comprised of some of the country’s top musicians, created a rich tapestry of sound which supported the storytelling from beginning to end. It’s a roast of a show, with no downtime for an MD and their musicians. Huge credit to all on exceptional work. The balance within the band was as good as I have heard anywhere. Numbers such as ‘What's the Buzz?,’ ‘Everything's Alright’ and ‘Simon Zealotes’ were remarkable in their choral sound. There was beautiful work too with the apostles during ‘The Last Supper.’ Excellent work all round. 

Graham Finnerty’s choreography was very strong with the dynamic movement complementing both the narrative detail and the production’s bold, visual choices very well. Mr. Finnerty drew on an eclectic mix of dance styles. ‘Hosanna’ featured more traditional movement, whilst ‘Simon Zealotes’ was more contemporary, highly energetic and, most importantly, drove the narrative. There was fabulous choreography in ‘King Herod's Song’ with Herod and his dancers doing exceptional work in a truly flamboyant spectacle. A superb job from Mr. Finnerty and his cast. 

Liam Egan did exceptionally well as the main protagonist. He was a very charismatic Jesus with commanding presence and warmth which drew us in from the start. Yet there were layers of vulnerability there too, adding great depth to his characterisation. His emotional range was most impressive from his fury in the temple to abject fragility in ‘Trial Before Pilate.’ Mr. Egan had a most smooth, melodic voice, great control, and a very sweet falsetto, which was used cleverly throughout. ‘Gethsemane’ was very well sung, showcasing his superb range. For me, this was a masterclass in acting through song, an exceptionally intelligent rendition. Mr. Egan's writhing in agony during the lashes and his screams as the crown of thorns was placed on his head were so chillingly real. 

Eoin Fingleton gave a most electrifying and compelling portrayal of Judas, the arbiter of Jesus' downfall. He played this role with great nuance and passion. Mr. Fingleton’s excellent vocal appeared effortless at times, in what has to be one of the most challenging sings in musical theatre. ‘Heaven On Their Minds’ was stunning in its vocal control and the amazing colour that Mr. Fingleton brought to it through his very clever interpretation. ‘Judas’s Death’ was brilliantly performed with a raw desperation that was perfectly judged. An excellent portrayal by Mr. Fingleton which really captured the emotional demands of this deeply conflicted and challenging role. 

The very talented Karen Martin O’Brien brought a wealth of experience to the role of Mary Magdalene. She played the part with great confidence and strength. I did feel that more softness and vulnerability might have added more depth to her character but there was no doubting her emotional range. She sang beautifully in ‘Everything’s Alright.’ ‘I Don't Know How to Love Him’ was full of sincerity and emotion. 

John Conroy was a wonderful Pilate, bringing a commanding presence and great gravitas to the role. This was a very strong interpretation from Mr. Conroy who found nuance and layers in every interaction. ‘Pilate’s Dream’ sat beautifully on Mr. Conroy’s voice and ‘Trial Before Pilate’ was powerful in both its vocal performance and its emotional connection to the narrative as we witnessed his rage during the lashes before the symbolic washing of hands. 

Rian Fitzmaurice Condron gave a standout, powerhouse performance in the role of Simon. This was a most captivating portrayal with an exceptionally good vocal during ‘Simon Zealotes.’ He had excellent stage presence and his focus never once wavered. He had a great emotional range, as was seen from his rage with the soldier after Jesus’s crucifixion. An excellent performance all round. 

Chris Corroon played Herod in a moment of much-needed levity. As one would expect from Mr. Corroon, this was a Herod like we’d never seen before and more than a hint of dramatic license was employed as he was revealed on his throne in very over-the-top drag. His extravagant makeup, flamboyant outfit and pink high heels created a stunning aesthetic for what was a brilliant performance and an unforgettable comedic highlight. But it wasn't all fun and games and Mr. Corroon showed quite the depth to his character, descending into anger as the number built. 

Joan White was an interesting piece of casting as Caiaphas but it was a brilliant choice. What we lost in the resonant bass tones of a male performer we gained with Ms. White’s stunning presence, malicious intent, and exquisite diction. Likewise, Amanda Cunningham, as Annas, was an exceptionally good performer with superb presence and an incredible understanding of the narrative.

Along with the three high priests, played by the magnificent trio of Jessie Woods, Aoife Fitzsimons and Ruth Kelly, these performers created something very special, both individually and as a group. Exceptional presence backed up by incredibly creative visuals in terms of costume and accessories made these five a huge highlight of this production. Had there been one weak link in this quintet, the whole thing would have unravelled. However, vocally, dramatically, and visually, they were an absolute revelation. 

There was lovely work too from Stephen Rabbette who played Peter. He had the most beautiful voice in ‘Could We Start Again Please?’ and his sympathetic presence in comforting Mary was a most heartfelt moment in the show. 

There was stellar support from the apostles, with Aisling Geoghegan as Paul, Natalee Kelly as James, Valene Greer as John, Seana Stenson as Andrew, Greg Dunne as Philip, Barry Dunne as Matthew, Jamie O’Callaghan as Thomas, Ursula Maher as James and Patricia Fleming as Bartholomew. 

One of the great strengths of this show was its ensemble which was the real heartbeat of this production. This was a very cohesive group, with an amazing collective energy and unwavering commitment to the production team's vision. There was exceptional focus from each and every one, even when just observing the on-stage action. There was fabulous background business and superb individual characterisations. Background business was always meaningful and purposeful, never a distraction. There was superb work from the apostles at the last supper in what was a most heartfelt sequence. Choral singing was exceptionally good throughout and the various dance styles were performed with conviction and an awareness of story at all times. 

There was a visually stunning and imposing set firmly rooted in the traditional. The revolving trucks downstage left and downstage right provided great options for staging. The hugely imposing centre truck, which moved downstage as required, was used to great effect, providing levels for the high priests, Caiaphas and Annas in particular. This truck reversed to reveal an imposing cross. The set was wonderfully textured taking light exceptionally well. The stunningly effective reveals on the revolves downstage right and downstage left were a great technical highlight of the show and were brilliantly timed. 

Wayne Handy’s stage management was superb throughout with smooth execution of changes contributing to excellent rhythm and flow of the production. The set was moved very skilfully with military-like precision. There were excellently timed reveals downstage left and downstage right as the trucks revolved. The mounting of the cross, almost on top of the audience, was a technical triumph, providing an exceptionally emotive and immersive experience. Great work from all involved. 

The lighting in the show was exceptional, enhancing the myriad dramatic moments and creating stunning visual pictures. Cues were executed flawlessly. The highly creative lighting design added superb depth and dimension to the wonderful set. I loved the cast appearing in spots with pinpoint accuracy at the top of the show. There was superb use of haze adding greatly to the atmosphere. I loved the perfectly lit slow motion as Jesus was captured and the three soldiers attacked him. The timing of lighting cues in ‘Trial Before Pilate/39 Lashes’ was exceptional, underlining the importance of lighting operators being familiar with the score as well as needing exceptional musical timing. 

There may not be enough superlatives to describe how good the sound was in this show.

There was an exceptional orchestral mix. It was clear that the operator knew this score inside out, by the clever emphasis of featured instruments throughout the show. Cueing was 

exceptional and the balance between the band, which was hidden away in the bowels of the stage, and cast was exceptional. Sometimes it's the small things that really stand out both good and bad. The decision to leave Jesus's mic open before Judas kissed him, whether meant or not, was a little bit of genius, as we heard his laboured breathing, adding so much to the realism of the scene. We were only short of hearing his heartbeat. 

There was further exceptional attention to detail in the props department adding hugely to the realism of the show. I loved the soldiers' very authentic spears. The birdcages, scarves, baskets, and flowers in the market scene all looked well. The mandolin was a nice touch. Goblets and bowls at the last supper were appropriate. Caiaphas's staff was a stunning creation and the mallets for the crucifixion were rough and heavy, exactly as they should be. 

There was incredible work in the hair and makeup department. From Jesus's braided look to the cool, highly original contemporary makeup, great care and creativity had been put into the creation of this dystopian visual. Judas's eye makeup and dramatic hair style set him apart from the rest of the cast and Herod's extravagant makeup and wig design were a delight. Pilate’s makeup added greatly to his imposing presence and wigs were simply stunning throughout. 

There was a brilliantly original costume plot, the brainchild of Ms. Fitzsimons and Mr. Finnerty. Their dystopian, post-apocalyptic take was stunningly creative, breathing new life into what can often be a tired visual. I loved the incredibly striking individual looks of Caiaphas, Annas and the high priests in their black ensembles, which were all so different yet fabulously coordinated. Herod's incredible outfit and the pink and white of his dancers were a welcome and dramatic departure from the norm. Herod was quite the creation in his pink heels, in a very vaudevillian, drag-fusion kind of way. Exceptional work from an excellent team. 

This was an excellent production of ‘Jesus Christ Superstar’ which was underpinned by an enormous amount of collaborative effort with every element contributing to a wonderful theatrical experience. There was attention to detail evident in every aspect of this show which was an enormous credit to the production team, technical team, and every single person on that stage. Huge congratulations to Tullamore MS and here’s to your next seventy years! 

Pat McElwain 

Gilbert Adjudicator 2024/2025

Photos by Rob Kennedy: