Review: Jesus Christ Superstar - Odd Theatre Company

Society Name: ODD Theatre Company

Show Name: Jesus Christ Superstar

Adjudicator Date of Attendance: 25/10/2025

ODD Theatre Company’s Jesus Christ Superstar was an electrifying and profoundly creative reinvention of Andrew Lloyd Webber and Tim Rice’s iconic rock opera. Performed in an intimate venue, this production stripped the show back to its emotional core while amplifying its raw, visceral energy. The company’s decision to stage it as an actor-musician production proved a stroke of genius, an audacious concept that fused performance and instrumentation into a single, organic storytelling language. The result was not merely a retelling of the Passion, but a living, breathing act of theatre: unpredictable, deeply human, and often spellbinding. From the moment the audience entered the space, it was clear that something special was about to unfold. The industrial, stripped-back set, set an anticipatory mood. The atmosphere was charged, the space brimming with creative tension. 

Director Cian O’Dowd demonstrated both bold imagination and technical mastery in a production that managed to feel intimate yet epic. His actor-musician concept was perfectly suited to the piece: the performers not only acted, sang and danced, but also played their own instruments, weaving the score into the storytelling. It was a seamless merging of form and function that made every beat of music feel personal, every lyric grounded in lived emotion. The decision to place the High Priests on an elevated platform, instruments in hand, was a particularly inspired image. Watching them look down on the action, sometimes descending to interfere, like sinister puppet masters, gave a chilling sense of omnipresent control. This visual idea of manipulation and hierarchy ran through the entire staging, a testament to Cian’s precision in visual storytelling.

Despite the small space, the production never felt confined. Movement was purposeful and fluid, transitions were beautifully timed, and each scene bled effortlessly into the next. The relentless drive mirrored the inevitable path to Jesus’s crucifixion, creating a sense of building intensity that was both thrilling and harrowing. Cian’s decision to cast women in several traditionally male roles was handled with intelligence and care. Rather than drawing attention to itself, it expanded the story’s humanity and power dynamics, offering new shades of authority and empathy. Similarly, allowing Jesus and Judas to accompany themselves on piano and guitar during key moments lent a disarming intimacy, music literally became their means of prayer, reflection, and doubt. The choice to end without a Resurrection was bold but entirely fitting. The production’s emotional crescendo reached its peak with the crucifixion, and to follow that devastation with an epilogue of hope would have diluted the intensity that had been so carefully built. The silence that followed the final moments felt both reverent and devastating. Every detail of the character work was carefully considered. Performers who played multiple roles were distinct and unrecognisable from scene to scene, a credit to sharp direction, attentive costuming, and a company entirely committed to storytelling. This was direction of exceptional maturity: emotionally intelligent, conceptually brave, and beautifully executed.

The dual musical direction of Keelin Kilduff and Cian O’Dowd was nothing short of extraordinary. To have a cast not only perform one of musical theatre’s most demanding rock scores but do so while playing the instruments themselves required monumental discipline. The level of preparation and musical understanding was astonishing. Vocally, the small ensemble achieved a remarkably full and balanced sound. Harmonies were rich and well-blended, and even when the cast were in constant motion, their tuning remained precise. The vocal energy sustained throughout the piece gave the score new texture and freshness.

Under the assured leadership of Ben Cooke, the onstage musicianship was thrilling. Rather than hidden in a pit the onstage musicians enhanced the sense of immediacy, reminding us that music itself was the driving force of the narrative. Though the lack of clear sightlines occasionally caused slightly uneven entrances, these moments were fleeting and forgivable given the complexity of the setup. Sound balance was generally excellent, though the keyboards sometimes overpowered the vocals, particularly in quieter, more introspective moments. In such a small space, a touch more restraint could have brought greater clarity to the lyrics. Nonetheless, the sonic landscape created by the cast was breathtaking. The energy, precision, and passion of the music gave the production its heartbeat.

Áine Foley’s choreography complemented the production’s intensity with sharpness and intelligence. Working in a limited space, Aine created movement that felt dynamic yet never cluttered. Her use of upper-body choreography kept the action alive without overwhelming the space. Every movement had purpose; nothing was gratuitous. The choreography worked hand-in-hand with the music, underlining shifts in tone and emotion rather than decorating them. The “Superstar” number was a particular highlight, fizzing with energy and precision. A touch more consistency in energy among the featured dancers would have tightened the impact further, but overall Aine’s work was inventive and deeply effective.

At the centre of the production was Adam Trundle as Jesus. His portrayal was thoughtful and technically accomplished. His musicianship was evident from the start; his piano and guitar work added an emotional layer that grounded the character’s spirituality in humanity. His Jesus was quiet and reflective, more philosopher than zealot, though this understated approach occasionally came at the cost of magnetism. The charisma that drives others to follow him was understated rather than commanding. In Act Two, Adam’s restraint paid off: his anguish and exhaustion in the final scenes were more moving.

As Judas, Liz Stears gave a performance of stunning intensity. From her first moments on stage, she exuded purpose and turmoil. Her voice, powerful, gritty, and precise, cut through the space, but it was her emotional control that truly elevated the performance. Liz conveyed the inner conflict of Judas with nuance and pain, allowing us to understand rather than simply judge him. Her renditions of “Heaven on Their Minds” and “Superstar” were electrifying.

Emmagene Cooke’s Mary Magdalene broke from the usual softness of the role. Her Mary was strong, pragmatic, and self-assured, yet capable of moments of piercing vulnerability. Her belt voice was formidable, though occasionally a gentler tone might have brought additional emotional variety. Her raw, grief-stricken cries during the crucifixion sequence were unforgettable, haunting and heart-wrenching in their authenticity.

Orla Williams’s Simon Zealotes radiated energy and devotion, her dynamic presence commanding the stage in her titular number. Gearóid McGauran’s Caiaphas was a study in restrained menace, his deep voice and deliberate movements giving him the authority of a figure who wields quiet but absolute power. Both offered performances rooted in clarity and control.

Among the supporting cast, Cormac Malone delivered a nuanced and compelling Pilate, capturing both the public and private sides of a man burdened by moral conflict. His “Pilate’s Dream” was tender and tormented, while his later scenes were chillingly composed. Cormac Dredge’s King Herod took a dramatically different approach from the usual flamboyance, offering a darker, more sinister take that leaned into grotesque humour and violence, a fascinating, unsettling reimagining. Conor Kilduff’s Annas brought poise and precision, his singing confident and smooth, while Daniel Ryan as Peter gave a heartfelt portrayal that charted his faith and fear with sincerity. His duet with Mary in “Could We Start Again Please” was beautifully judged, a brief but emotionally resonant moment of stillness in the chaos.

The ensemble were the unsung heroes of this production. Their ability to juggle singing, acting, and live musicianship while maintaining tight ensemble unity was extraordinary. Their harmonies were lush and balanced, and they maintained unwavering focus throughout. In a show where every performer was visible and constantly active, their consistency was commendable. A few smaller scenes might have benefited from slightly more even energy across the group, but overall, this was a company functioning as a single, cohesive organism.

Stage Manager Clodagh Donnelly ensured a smooth, professional flow throughout. With minimal set changes, precision was key, and everything, from prop handling to transitions, was executed flawlessly. The design work was striking. The graffiti-covered platform evoked both the ancient and the post-apocalyptic, creating a world that felt timeless. It placed the story in a symbolic no-man’s-land, part rock concert, part wasteland, part temple. The layering of levels allowed for clever visual storytelling, giving status and hierarchy clear physical form.

Lighting design was effective and expressive, using shadow and silhouette to great emotional impact. The betrayal and crucifixion sequences were particularly powerful, the light sculpting the actors into haunting, painterly compositions. The only minor drawback was an overuse of one chase effect that occasionally distracted from the action. Sound design was mostly excellent, managing the unusual blend of live instruments and vocals with skill. Some moments, particularly those dominated by keyboard, could have benefited from a gentler mix, but overall, the sound supported the intensity of the score without overwhelming it.

The costume design leaned heavily into a Mad Max-inspired aesthetic, gritty, torn fabrics, leather textures, and asymmetrical cuts that gave the world a sense of decay and defiance. Each character carried their own colour palette, defining personality and allegiance while maintaining cohesion. The “Superstar” costumes glittered with celestial light, a striking contrast to the earlier grunge palette. Judas’s continued black attire provided a poignant visual reminder of her isolation. The only visual inconsistency appeared in Herod’s chorus, whose costumes wavered between sparkle and grit without committing to one direction.

Make-up and hair design were outstanding. The apostles’ tribal markings added unity and identity, while the ghostly, pale faces of the High Priests gave them an eerie, otherworldly aura. Every visual element reinforced the story’s tone and atmosphere.

The Front of House team handled the evening with the same professionalism that characterised the performance itself, welcoming, organised, and attentive. Their calm efficiency ensured a smooth-running night, while their evident enthusiasm mirrored the infectious energy emanating from the stage.

ODD Theatre Company’s Jesus Christ Superstar was a remarkable achievement, fearless, inventive, and emotionally searing. It was a production that challenged both its performers and its audience, stripping away the expected polish of the musical-theatre canon to reveal something raw and immediate. The integration of live instrumentation elevated the piece from a musical to an experience, a total immersion in sound, story, and emotion. Ultimately, this Jesus Christ Superstar stood as a testament to what can be achieved when ambition is matched by talent and discipline. ODD Theatre Company have proven themselves once again to be fearlessly creative, artistically intelligent, and unapologetically original.

Photos by Liam Mullen