Review: Jesus Christ Superstar - Wexford Light Opera Society

Society name: Wexford Light Opera Society

Show name: Jesus Christ Superstar

Adjudicator date of attendance: 02/05/2026

Wexford Light Opera Society’s production of Jesus Christ Superstar was an ambitious, visually striking, and musically thrilling interpretation of one of musical theatre’s most iconic rock scores. From the opening moments, it was clear that this was a company with a strong artistic vision and a determination to fully immerse its audience in the world of the piece. Embracing a dark post-apocalyptic aesthetic, the production combined industrial imagery with bold symbolic choices and a relentless musical drive that created an atmosphere of tension and inevitability throughout the evening.

This was a production marked by enormous commitment from every department. The demands of Jesus Christ Superstar are immense, requiring exceptional vocal stamina, emotional clarity and ensemble discipline, and the company rose impressively to the challenge. There was a strong sense of cohesion across the performance, with direction, choreography, technical design and musical interpretation all working towards a unified concept. While a handful of creative choices occasionally distracted or felt slightly less fully realised, the overall achievement was highly commendable and resulted in an engaging and memorable theatrical experience.

Christine Scarry delivered a confident and thoughtfully constructed production with very clear storytelling throughout. Maintaining emotional clarity in a sung-through rock musical is no small feat, yet this production handled the balance between spectacle and character exceptionally well. The blocking was consistently strong, with excellent use of space, levels and movement. Characters travelled clearly not only through the physical environment but also through their emotional arcs, and the relationships between characters, particularly Jesus and Judas, were developed with real care and complexity. The emotional trajectory of the piece was handled with restraint and maturity. Rather than leaning into melodrama, the production trusted the material and allowed the emotional conflicts to emerge naturally, giving many scenes considerable impact. There were a few directorial choices that perhaps could have benefited from slightly greater clarity in execution. The use of the Fates during the opening of the titular number was imaginative and visually interesting, though the connection between Greek mythology and the biblical narrative was not immediately apparent, with the significance of the thread-cutting moment becoming clearer only in retrospect. Similarly, the choice to have one of the High Priests physically manhandle Jesus during Act Two was an unusual directorial decision. Having a figure of such status and authority take on a role more traditionally associated with guards created an interesting visual contrast. Judas’ death sequence also aimed for striking theatrical imagery, although the mechanics of the electrocution effect slightly weakened the realism of the moment. Nevertheless, the production’s willingness to take creative risks and pursue bold visual storytelling was admirable and contributed greatly to its unique identity.

Musically, the production was exceptional. David Hayes and Chorus Mistress Eithne Corrigan achieved something truly impressive with the score, capturing the raw rock energy that makes Jesus Christ Superstar so iconic. From the opening notes, the orchestra drove the production relentlessly forward, creating a feeling of inevitability that perfectly suited the material. Particularly effective was the decision in places to move directly from one number into the next without pausing for applause, creating an almost cinematic flow and reinforcing the sense that Jesus was on an unstoppable journey toward his fate. Vocally, the production was outstanding. There was tremendous power across the company, from principals to ensemble members, while still allowing room for intimacy and softness in quieter moments. The chorus produced a rich, cohesive sound throughout the evening, demonstrating excellent stamina in what is an exceptionally demanding score. Harmonies were full and resonant, and the musical direction remained one of the strongest aspects of the entire production.

Therese O’Sullivan’s choreography was distinctive and highly integrated into the overall aesthetic of the show. Rather than relying on conventional movement styles, the choreography developed its own physical language that reflected the darker and more militaristic tone of the production. The opening number leaned heavily into organised, almost ritualistic movement patterns, with repetitive arm sequences and shifting formations creating some visually arresting stage pictures. Everything was executed with remarkable precision by the ensemble, demonstrating excellent rehearsal discipline and commitment. At times, that precision created a more controlled feeling than one might traditionally associate with the followers of Jesus, where productions often lean more heavily into freedom and spontaneity. However, this appeared to be a conscious stylistic choice that aligned with the production’s broader vision. The choreography also made several brave staging decisions, with performers frequently facing upstage or side-on to the audience. This requires considerable confidence in the cast’s ability to maintain engagement without direct audience connection, and the company rose to that challenge very successfully. The use of lighting tubes during “Herod’s Song” created atmosphere and visual interest, although the surrounding spectacle occasionally competed with Herod himself for focus. By contrast, the choreography during “Superstar” was packed with energy and delivered with exceptional precision.

The principal performances anchored the production extremely well. Aidan Byrne delivered a strong and compelling portrayal of Jesus, offering a grounded and charismatic interpretation that remained emotionally accessible throughout. His gradual emotional progression was handled with great control, capturing the increasing weight and exhaustion of the character while still maintaining authority and presence. His scenes with Judas were particularly effective, filled with tension, frustration and genuine affection beneath the conflict. Vocally, he was extremely impressive, navigating the notoriously difficult score with confidence and control. His rock scream in “Gethsemane” was exactly what audiences hope for in the role: raw, emotional, and thrilling.

Thomas Furlong brought a constant nervous energy to Judas that worked very effectively within the darker aesthetic of the production. His portrayal clearly communicated the character’s internal conflict and emotional instability, sustaining that tension consistently throughout the performance. His relationship with Jesus formed one of the strongest emotional threads within the production.

Niamh Cullen offered a refreshingly grounded interpretation of Mary Magdalene, avoiding the softer and more traditionally feminine portrayal often associated with the role. Instead, she brought a more practical and understated energy to the character. While at times a slightly greater sense of warmth toward Jesus may have deepened the emotional connection further, the performance nevertheless felt sincere and thoughtful. “I Don’t Know How to Love Him” was delivered with strong vocal control and emotional honesty.

Among the supporting performances, Tony Carty delivered one of the evening’s most impactful portrayals as Pontius Pilate. Commanding the stage whenever he appeared, he captured the character’s external authority and internal conflict with nuance and subtlety. Stephen Byrne’s Herod leaned away from the more traditionally camp interpretation of the role, instead presenting a grittier rocker aesthetic that contributed effectively to the chaotic energy of the sequence.

Jonathan Kelly brought warmth and sincerity to Peter, while Joshua Higginbotham delivered strong vocals and a genuine sense of devotion as Simon Zealotes. Seamus McManus was particularly commanding as Caiaphas, combining calm authority with an underlying menace, while his impressive bass notes added greatly to the impact of the role. Eric Hayes offered a heightened and stylised interpretation of Annas, creating a clear contrast to the more restrained performances surrounding him. The High Priests functioned very effectively as a collective force throughout the production, reinforcing the increasing pressure surrounding Jesus during Act Two. The Soul Girls also provided excellent vocal support during “Superstar”, blending beautifully and fully embracing the style and energy of the sequence.

The ensemble work throughout the production was exceptional. Every member of the company appeared fully invested in the world of the show, creating a strong and consistent atmosphere from beginning to end. The choreography was performed with tremendous energy and precision, while vocally the ensemble produced a rich, blended sound that supported the principals beautifully. Even during quieter scenes, the level of focus and commitment never wavered.

Visually, the production created a fascinating world. The combination of ruined industrial steelwork and remnants of frescoes established a compelling post-apocalyptic environment that immediately set the tone. The prominent Statue of Liberty head was certainly a bold design choice and, while perhaps more direct than some of the subtler visual elements elsewhere in the production, it nevertheless contributed effectively to the dystopian aesthetic. Colin Murphy and the stage management team handled the largely static set with great efficiency, allowing cast movement and staging to remain fluid and dynamic throughout.

Lighting was one of the major highlights of the evening. Sharp beams and carefully utilised shadow created a striking visual landscape, while the recurring image of the single moving light behind Jesus first as a full beam on his first entrance, and later fractured behind the cross, provided beautiful symbolic imagery that encapsulated the emotional arc of the production. Sound was equally impressive, balancing the power of the rock score with vocal clarity throughout the large venue.

Costumes, hair and make-up all contributed strongly to the overall visual identity of the production. The post-apocalyptic desert-rock aesthetic worked particularly well for the apostles and ensemble, while the High Priests provided stark visual contrast. The Herod sequence embraced a more contemporary style, adding further variation to the visual palette. While the gold costumes during “Superstar” perhaps appeared slightly less refined than some of the other costume choices, they still added to the theatrical spectacle of the number. Hair and make-up were both executed to a very high standard and tied the overall aesthetic together successfully.

The Front of House team also contributed greatly to the overall experience of the evening, creating a warm and welcoming atmosphere from arrival. The audience was efficiently managed throughout the performance, and the professionalism and friendliness of those greeting patrons helped establish a positive tone before the opening notes. It was clear that a great deal of care had gone into ensuring the audience experience ran smoothly, adding to the overall polish of the production.

Overall, this was an ambitious, visually inventive and musically powerful production of Jesus Christ Superstar. Wexford Light Opera Society approached the piece with confidence, creativity and enormous commitment, resulting in a production filled with memorable imagery, emotional intensity and exceptional musical achievement. The willingness to take creative risks and present such a distinctive interpretation of this iconic musical was admirable. A highly commendable achievement from the company.

Photo credit: Paula Malone Carty Photography