Review: Jesus Christ Superstar - Lisnagarvey Operatic and Dramatic Society

Society name: Lisnagarvey Operatic and Dramatic Society

Show name: Jesus Christ Superstar

Adjudicator date of attendance: 24/04/2026

Another trip up north brought me to the fabulous surroundings of Lagan Valley Island for Lisnagarvey Operatic and Dramatic Society’s production of ‘Jesus Christ Superstar’. This was a very striking and atmospheric take on the show, embracing its rock opera style with industrial staging and contemporary costumes. Wilfie Pyper’s production created a world that was modern, edgy and at times almost concert-like but it still found quieter and more emotional moments when needed. Very strong ensemble work complemented the storytelling throughout. Most importantly though, underneath all of the spectacle and atmosphere, there was a real sense of humanity at the heart of this thought-provoking production.

Front of house staff were exceptionally warm and welcoming on arrival at Lagan Valley Island and there was a real buzz around the foyer before curtain up. The venue was packed with people clearly anticipating a strong night of theatre and the various photo displays added nicely to the atmosphere and sense of occasion. The show itself started very promptly, which was refreshing to see.

Wilfie Pyper brought his vast expertise, experience and theatrical instinct to this production and there were many moments throughout that showed a director with a very clear understanding of the style and rhythm of the show. The image of the cross being carried through the auditorium by riot police immediately established the darker and more contemporary tone of the production, while the use of modern-day Middle Eastern footage on the projections reinforced the continuing relevance of the themes within the show. The use of microphones by the ensemble during the arrest sequence, gave the scene an aggressive, almost media-frenzied feel and added to the sense of pressure closing in around Jesus. The decision to dress the apostles in black with individual coloured scarves proved very effective and allowed for several symbolic moments throughout the piece. Judas’ death was handled with restraint, relying on lighting, sound and suggestion rather than anything graphic, which ultimately made the scene more powerful. Mr. Pyper’s use of the ensemble throughout was a real strength. Crowd scenes had huge energy and purpose and quieter interactions between characters were beautifully restrained.

Keith Pyper did an excellent job bringing Andrew Lloyd Webber’s iconic score to life. From the very start, the orchestra produced a rich and powerful sound that perfectly suited the rock opera style of the piece. The band was wonderfully balanced throughout, never overwhelming the performers while still keeping the drive and energy the score requires. Principal singing was consistently impressive, with performers clearly secure in the demanding score. There was a superb ensemble sound right through the show and it was clear that a huge amount of musical preparation had gone into the show. Harmonies were very secure, entries were confident and the cast had a very good feel for the musical style. Super work from Mr Pyper and his team.

Jordan Rosborough did excellent work with the choreography throughout. The ensemble was exceptionally well-rehearsed and performed the routines with confidence and commitment from start to finish. The choreography was always a part of the storytelling; exactly as it should be. ‘What’s the Buzz?’ brought great energy from the start, with strong movement and excellent use of the stage. The slow-motion section within the number was particularly effective and created a lovely contrast against the otherwise frantic pace. ‘Simon Zealotes’ was another choreography highlight, bursting with energy and driven by a cast who were fully invested in the exhilarating routine. ‘Superstar’ was a thrilling burst of energy towards the end of the show and was performed with wonderful commitment from the full company. The concert-style feel of this number really came alive here. Excellent work all round.

Aodhán Halfpenny gave an outstanding portrayal as Jesus in what was a hugely compelling central performance both vocally and dramatically. Mr Halfpenny had a most natural warmth and sincerity to his acting and vocally he proved more than capable of handling the enormous demands of the role. His upper register in particular was stunning, soaring effortlessly in the more intense musical moments while still keeping clarity and control. ‘Gethsemane’ was without a doubt one of the vocal highlights of the production. It was a powerful and emotional performance of an incredibly difficult number, building superbly as his internal conflict and desperation intensified. Dramatically, Mr Halfpenny was equally strong. His reactions during the ‘39 Lashes’ sequence felt painfully real and the crucifixion scene was performed with incredible emotional commitment.

Sean Harkin brought exceptional presence to the role of Judas and gave a very thoughtful and intelligent performance throughout. He captured the underlying complexity of the character so well in what was a superbly acted performance, strongly underpinned by inner conflict throughout. Vocally, I felt that there were maybe some slight signs of tiredness during ‘Heaven On Their Minds’, which is an enormously demanding opening number but he covered this very cleverly through strong characterisation. His work during ‘Superstar’ was particularly impressive, fully embracing the rock concert style and energy of the sequence. Overall, this was a very strong performance from Mr Harkin, combining excellent acting instincts with a very clear understanding of the complexity of the character.

Niamh McCauley gave a wonderful performance as Mary Magdalene, bringing warmth, sincerity and emotional intelligence to the role throughout. Surrounded by larger-than-life personalities and heightened emotion, Ms McCauley’s performance provided some of the show’s most human moments. She sang with great sensitivity throughout. ‘Everything’s Alright’ was beautifully performed, with a lovely connection to both the lyrics and the emotional tone. Her ability to communicate feeling through the music was even more evident in ‘I Don’t Know How to Love Him’, which was delivered with real vulnerability and sincerity.

Simon Pyper gave a very memorable performance as Herod, creating a characterisation that felt entertaining and deeply unsettling at the same time. Vocally, Mr. Pyper sang extremely well but it was his physical performance and stage presence that particularly stood out. He moved exceptionally well throughout the sequence and used the space brilliantly, constantly animated and commanding attention. Underneath the flamboyance and theatricality, there was something uncomfortable and sinister about his characterisation, which made the scene all the more effective.

Lucas Levy brought a strong presence to the role of Caiaphas and created a very imposing figure. Mr Levy drove the growing fear and tension, determined to maintain order and prevent unrest at any cost, and he did so with great authority. Vocally, he had the deep, resonant bass voice the role requires and this gave his performance real weight and gravitas, particularly during scenes with the priests, with whom he worked very well.

Laoise Carney and Noel Marsden both gave very strong performances as Annas and the Priest, adding to the sense of authority and menace surrounding the religious leadership within the show. Vocally, both performers were impressive throughout, particularly during numbers such as ‘This Jesus Must Die’ and ‘The Arrest’.

Kyle Emerson gave a very strong performance as Pilate, with excellent stage presence and authority throughout. Dressed in the military-inspired costume styling, he immediately created the sense of a man used to power and control. Vocally, he sang with a wonderfully resonant baritone and ‘Pilate’s Dream’ was performed with great control and atmosphere. Following the lashes, there was a clear sense of realisation and horror at what Pilate had allowed to happen, and Mr. Emerson handled this with genuine feeling which was quite affecting.

Jack Cranston had wonderful stage presence in the role of Peter and made a strong impression throughout the show. He sang beautifully during Peter’s denial scene, bringing real emotion and vulnerability to the moment.

James Marsden gave a very strong performance as Simon and brought wonderful energy and presence to the role. He had a superb singing voice and he delivered an excellent performance in ‘Simon Zealotes’, attacking the number with great power and confidence.

Olivia Pyper gave a strong vocal performance as the Maid by the Fire in the Peter denial sequence.

There was excellent work from the ensemble throughout. They were a hugely committed group who threw themselves fully into the production, both vocally and physically. The ensemble sound was consistently strong, with very impressive work in numbers such as ‘What’s the Buzz?’, ‘Hosanna’ and ‘Simon Zealotes’. Their movement as the lepers was especially effective and genuinely unsettling. The apostles sang beautifully during ‘The Last Supper’, with strong harmonies and excellent connection to the growing tension within the story. Special mention must also go to Herod’s dancers, who performed with exceptional energy and commitment throughout his number. Later in the show, the raw passion and aggression as the crowd shouted “Crucify him!” helped create a genuinely dramatic atmosphere.

With no major set pieces moving on and off throughout the show, much of Conor O’Brien’s work as stage manager may well have gone unnoticed by many in the audience but it was very clear that a huge amount of organisation and coordination was happening behind the scenes. The only noticeable issue from a visual point of view was the billowing cyc at the rear of the stage, which occasionally became a distraction. This was particularly noticeable because the shadow of the scaffold structure was being cast onto it, drawing further attention whenever the material moved. Apart from this issue, everything appeared to be in good order throughout.

The set design created a very stark and industrial world for the production and this worked very well. Dominated by the large scaffold structure and staircases, the set had a cold, almost oppressive feel to it, which worked very well within the darker tone of the show. The levels of the scaffold were used very well throughout the show, allowing characters to watch and judge the unfolding events. Some projected sequences of a war-torn Middle East reminded us of the enduring relevance of the story for today’s audience. This footage was cleverly integrated into the action, even though it was used quite sparingly and I wondered if it could have been developed more to assist with the overall aesthetic.

Lighting was one of the strongest technical aspects of the production and played a huge role in creating the atmosphere of the show. There was excellent use of colour throughout, with the cyc frequently transformed through deep reds, blues, purples and harsher green tones depending on the mood of the scene. There was some particularly strong use of breakup gobos throughout the evening, helping to create texture and depth across the stage. Cueing throughout the show was exceptionally well timed. The isolated image of Judas at the end of Act One, caught in dramatic lighting as the curtain closed, was particularly striking. Equally effective was the beautiful final image at the close of the show, where the cross was picked out simply but powerfully as the curtain came in.

Sound was exceptionally strong throughout and played a big role in the overall success of the show. The band was particularly well mixed, producing a rich, warm sound while never overpowering the vocals on stage. It was very clear that the operator knew the score inside out, with individual instruments subtly brought forward at key moments to add colour and texture to the orchestration. The gorgeous acoustic guitar at the opening of ‘Gethsemane’ was one such example. Vocals were clear and warm throughout, with principals and ensemble both sounding exceptionally well. The creaking sound effect accompanying Judas’ death was especially effective, working perfectly in hand with the lighting and staging.

Costumes worked very effectively and tied in strongly with the modern, industrial aesthetic of the show. Rather than going for traditional biblical styling, the production leaned into a much more contemporary look, which suited the rock opera feel of the show very well. The apostles were dressed in black, with each character distinguished through the use of individual coloured scarves. Jesus’ softer white styling separated him visually from the darker world around him, while Judas’ darker costume and striking purple scarf reflected the more troubled and conflicted nature of the character.

This was not a particularly prop-heavy production but what was used was well chosen and effective. Judas’ striking red money pouch worked particularly well, standing out clearly against the darker costumes and acting as a reminder of his betrayal and inner conflict. Props used during ‘The Last Supper’, including the tankards and jug, suited the staging well, while the sponge on the stick during the crucifixion sequence was simple but effective. The trays used during ‘The Temple’ also worked well within the chaotic atmosphere of the scene, although the use of empty glasses did slightly break the illusion at times.

Hair and makeup were very effective and suited the darker, contemporary tone of the show very well. Nothing was overly exaggerated or out of place. There was excellent attention to detail in relation to Jesus during the trial and crucifixion scenes. The increasing physical deterioration of the character was handled very convincingly, with the blood effects adding real authenticity to the final sequences.

Overall, Lisnagarvey Operatic and Dramatic Society produced a powerful and emotionally engaging production of ‘Jesus Christ Superstar’. Wilfie Pyper’s direction consistently found the balance between large-scale rock spectacle and quieter human moments. Ultimately, it was a production that understood exactly what kind of show ‘Jesus Christ Superstar’ needs to be. The group should be extremely proud of what they achieved. It was a bold, visually striking and musically powerful piece of theatre that connected very strongly with its audience.

Pat McElwain

Sullivan Adjudicator 2025/2026