Review: Jesus Christ Superstar - Entr'acte

Society name: Entr’acte

Show name: Jesus Christ Superstar

Adjudicator date of attendance: 21/02/2026

Entr’acte’s production of Jesus Christ Superstar was, in many respects, an ambitious and highly accomplished undertaking. This is a show that demands exceptional musical precision, clarity of storytelling, and a strong, cohesive directorial vision to fully land its emotional and narrative impact. From the outset, it was clear that this company approached the piece with confidence and intent. The scale of the production was immediately evident, and as the performance unfolded, it became clear that this was a visually striking and musically assured interpretation, underpinned by a huge amount of work and commitment from all involved.

There was a great deal to admire throughout the evening. The standard of performance, both vocally and physically, was consistently high, and the technical execution across lighting, sound, and staging demonstrated a strong level of professionalism. While the production qualities were undeniably impressive, I found that the overarching concept did not fully resonate with me. There were many bold and imaginative choices, and while these were often executed with skill and confidence, they did not always feel cohesive or fully supportive of the emotional core of the piece. As a result, I occasionally found it difficult to connect as deeply with the storytelling as I might have hoped.

That said, the direction by Niamh McGowan showed clear strength and control throughout. The staging was thoughtfully constructed, with strong use of space and a clear understanding of how to create dynamic and engaging stage pictures. Blocking was purposeful, and the physical journeys of characters were, for the most part, clearly defined. The production moved with a strong sense of momentum, and there was very little sense of lag or uncertainty in pacing. Ensemble work in particular was a standout aspect of the direction, with clearly defined group dynamics and a strong sense of cohesion that supported the storytelling effectively.

Where I felt the direction was less successful was in its conceptual choices. There were several moments where bold reinterpretations were introduced, and while these were often visually striking, they did not always enhance the emotional weight of the narrative. The replacement of the traditional “39 lashes” with a boxing sequence is a key example. This was undoubtedly a brave and inventive idea, and it was staged with precision and commitment. It felt somewhat disconnected from the emotional significance of the moment. The lack of a clearly defined count within the sequence also diminished its impact, as the repetition and inevitability of the lashes is an important part of the storytelling.

Similarly, the central relationship between Jesus and Mary Magdalene did not feel as emotionally grounded as it might have been. While both performers delivered competent and well-sung performances, the connection between them lacked the depth and authenticity needed to fully draw the audience in. This, in turn, affected the emotional stakes of several key moments. The journey of Jesus through Act 2 also felt somewhat underdeveloped. The role requires a gradual physical and emotional deterioration, allowing the audience to experience the cumulative impact of his suffering. Here, the transition felt more abrupt, with a sudden shift rather than a steady descent. As a result, some of the emotional impact was lessened.

There were also some strong ideas introduced that could have been explored further. The concept of the Apostles marking themselves with numbers during the Prologue was a particularly striking visual motif, but it was not revisited clearly enough later in the production to fully realise its potential. Likewise, the interpretation of “Could We Start Again Please” felt somewhat unclear in its focus, shifting towards the relationship between Mary and Peter rather than their connection to Jesus, which diluted its narrative clarity.

Accent choices also created some initial confusion. It was not immediately clear in Act 1 that performers were using their natural accents, and this lack of consistency made it more difficult to fully establish the world of the production. This became clearer in Act 2, but a more unified approach from the outset would have strengthened the overall cohesion.

Musically, however, the production was outstanding. Under the baton of Róisín Heenan the presence of a 32-piece orchestra created a rich, full and immersive sound that elevated the entire performance. The band was exceptionally well balanced, and the musical direction demonstrated a clear understanding of the score’s demands. The iconic music of Jesus Christ Superstar was delivered with power, clarity, and precision, and there was a strong sense of cohesion between pit and stage throughout.

There were a few minor refinements that could be made. At times, the guitar distortion, particularly in the opening, was slightly too heavy, which affected the clarity of pitch in some of the melodic lines. Given how recognisable these motifs are, a cleaner tone would allow them to come through more effectively. Vocally, the standard was very strong across the cast, with clear harmonies and confident delivery. There were moments, such as in “Poor Old Judas,” where additional harmonies felt somewhat unnecessary and detracted slightly from the simplicity of the piece.

The decision to have the Apostles return at the end to play instruments was an interesting one, but it did not feel fully integrated into the overall concept. Without a clear narrative or visual payoff, it felt somewhat disconnected from the rest of the production.

Choreographically, the work was excellent. The movement, created by Niamh McGowan, was clean, energetic, and consistently well executed. There was a strong sense of style throughout, with choreography that supported both the musical and dramatic elements of the piece. Entrances and exits were handled smoothly, and the ensemble work was particularly effective in driving the narrative forward. The choreography never felt decorative; it always had purpose and intention, which greatly enhanced the storytelling.

Among the principal performances, there was much to commend. Joe Jennings as Jesus delivered a vocally strong performance, demonstrating good control and musicality, though there were some challenges in transitioning into the upper register. Dramatically, I found it difficult to fully connect with the character, particularly in terms of the charisma required to justify his influence over others. The emotional and physical journey through Act 2 would benefit from greater progression, allowing the audience to fully experience his descent.

Ruairi Nicholl’s Judas was a standout performance. Vocally excellent and dramatically compelling, there was a strong sense of backstory and intention behind every choice. His betrayal scene was particularly effective, and while the Elvis-inspired “Superstar” number did not fully align with the overall concept for me, it was performed with confidence and flair.

Katie Taylor as Mary Magdalene delivered a beautifully sung performance, though I would have liked to see greater emotional vulnerability and connection. April Kelly brought strong energy and conviction to Simon, while Gavin Coll’s Caiaphas impressed vocally but would benefit from a more commanding physical presence.

In the supporting roles, Anna Bergin’s Pontius Pilate was vocally powerful and grounded by a strong stage presence. Further exploration of her internal conflict, particularly when Jesus is brought back before her after Herod rejects him, would add depth to this pivotal moment. Daniel Ryan’s Herod offered an interesting and entertaining interpretation, while Dan Whelan’s Annas provided a distinctive and engaging characterisation, with a strong sense of presence.

The High Priests, Clodagh Donnelly, Sarah Egan, Louise Gilmore, Beth Strahan, as a group were vocally strong but could benefit from a more unified and authoritative physicality. Gavin Murphy’s Peter was well sung and energetically performed, while the Apostles, Kevin Bates, Lar Bathe, Caoimhe Boyle, Colin Doran, Colleen Doyle, Cian Gallagher, Ciara McKenna, Damian Sweeney, Caoimhe Tyndall, created a cohesive and committed ensemble, particularly in “The Last Supper,” which was both vocally and dramatically effective.

The chorus and ensemble were undoubtedly one of the strongest elements of the production. They brought consistent energy, precision, and commitment to every scene, maintaining character and engagement throughout. Movement was synchronised and purposeful, and vocally they provided a strong and reliable foundation for the production. Their presence added significantly to the overall atmosphere and momentum of the show.

Visually, the set design was highly effective. The integration of the orchestra into the set created a cohesive and immersive environment, and the detailed graffiti elements added texture and interest. The variety of entrances and levels kept the staging dynamic and engaging. Scene changes were generally smooth and efficient, though the use of Apostles to facilitate some transitions occasionally disrupted the storytelling, particularly in moments where they should have been emotionally engaged elsewhere. There was also a slight sense of urgency during the crucifixion sequence, which impacted the flow of that moment.

Lighting was a standout feature, with striking visuals and a strong understanding of the rock aesthetic of the piece. The use of tungsten blinders and side lighting created powerful images, particularly in the lead-up to Judas’ death. There were some minor issues with face lighting at the extreme downstage area due to the angle of the rig, but overall, the design was highly effective.

Sound was well managed, with accurate cueing and a strong overall mix. There were a few moments where the balance between orchestra and vocals could be refined to ensure clarity of text, but these were relatively minor within an otherwise strong design.

The costume design, while clearly detailed and thoughtfully constructed, was one of the areas that did not fully work for me. The strong 80s-inspired aesthetic did not feel fully aligned with the visual language of the set, and the inclusion of modern elements such as mobile phones created a sense of inconsistency. The High Priests’ costumes in particular suffered from issues of fit, which detracted from their authority on stage. However, the level of detail and care in the overall design was evident, and with a more cohesive alignment to the wider concept, this could become a much stronger element of the production.

Hair and make-up were well executed and supported the performers effectively.

From a Front of House perspective, the atmosphere on arrival was warm and welcoming, creating a positive first impression. 

Overall, this was a production of significant ambition and high achievement. The musical standard was exceptional, the ensemble work was a major strength, and the technical elements were executed with skill and confidence.

While the conceptual approach did not fully resonate with me, there is no doubt that this was a production created with care, commitment, and a genuine passion for the piece. With continued refinement and a focus on aligning concept more closely with emotional storytelling, this company is clearly capable of producing work of a very high calibre.

Photos by akw.media (& also Darragh)