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REVIEW: Jesus Christ Superstar
By Anthony N Britt 31 May 2025
One show always has a special place in my heart as it was that of my first time on stage. I had also seen it twice before, professionally, but never an amateur or in this case, a youth version. I was, therefore, delighted to be invited back by Smile Musical Youth Theatre to review Jesus Christ Superstar.
An excellent Front of House full of gift stalls and many raffle prizes (I won two), and friendly volunteers to give help where needed. And with my history of this production, I was looking forward to (even with me being an atheist) enjoying a musical about Jesus. Well, I treat it as any other work of fiction.
JCS tells of the last days of Jesus Christ, his betrayal by the ones around him and the persecution from those whose stability of power he threatens. I hate to go on yet again about having done this show, but when the opening guitar chords of Overture sounded, I had goosebumps. We were immediately introduced to the insurgent, James Alphaeus (Grace Paskin) who delivered a wonderful solo lyrical dance while being confronted by the black clad aggresion representing authority.
Straight away I was drawn to the costumes (Courtesy of Suzanne Harris), which for the rebels, could easily have come from my wardrobe. Yes, Harem Pants galore, which of course, I approved of. As mentioned already, black was the theme of oppression and this went for all in that category, be it Roman or Jewish Authority. On stage we had a static set which works well in this show, made all more atmospheric by the excellent lighting provided by Jack Tustin from Going Dark Theatrical Services. I must also credit the sound (DW Technical Services) which apart from one brief bit of feedback was otherwise faultless. But I have talked enough tech; on with the show.
In the role of JC was Samuel Broomhall-Tighe who I have seen a few times now, and this was by far his best performance of an already high caliber. Outstanding in Gethsemane and Poor Jerusalem, among others. In fact, this was the best Jesus I have seen from an auditorium, and I’ve experienced Glenn Carter in the role. What I also liked about Smile’s Jesus was the freedom to break from the clichéd version of having him look like a 1970s Bee Gee. Here we had what appeared a normal guy; a good stamp of individuality for this show.
Onto Judas and another first in my experience in the fact that the role was female. Macy O’Donoghue was simply amazing, excelling in Heaven on our Minds and Damned for All Time, while leading well in Superstar. Then, together with Samuel Broomhall-Tighe, the vocal battle between Judas and Jesus during The Last Supper. An especially powerful Judas, also topping those I had seen professionally. As Mary Magdelene, Nancy Minaker completed the trio of better than the professional, in my opinion. So strong from the earliest appearance and perfection and power during I Don’t Know How to Love Him.
Supporting well in solo songs were Josh Mills (Simon the Zealot) in Simon Zealots, Michael Robinson (Peter) during Could We Start Again Please, Freddie Perry (Pilate) in Pilate’s Dream and The Trial and finally, the gloriously OTT Taylor Simner as Herod in Herod’s Song. Then you had two more figures of authority as heads of the priests in Makena Straker-Sharpe (Caiaphas) and Charlie McRobert (Annas). This Jesus Must Die (Always a favourite of mine as it included my first ever lines) had those goosebumps rising again.
The remainder of this excellent cast not already mentioned were Hannah Allsop (Andrew), Isabella Fitzpatrick (James Zebedee), Amelia Perry (John), Katelyn Elizabeth Harper (Bartholemew), Evie-May Smith (Matthew), Annabella Nneka Amogu (Thaddeus), Violet Flynn Jones (Phillip), Cian Grayson, Cat Allsop, Maxwell Ridley (Priests), Molly-Ann Oakley, Isla Smith, Ezme-Jean Forbes-Moore (Soul Girls) with Jackson Tomkys, Libby Sandle and Georgia Haynes completing the ensemble.
There was so much to love about this performance, and I was mesmerised by all the blood in 39 Lashes and even more so by the surreal image of those dressed in white singing Superstar, complete with splatter. The production team of Joe Logan (Director and Choreographer), Elliot Lingard (Musical Director), Sarah Jennings (Vocal Coach) and Tom Fitzpatrick (Assistant Musical Director) can be well pleased with the results of months of hard work.
You can tell I have enjoyed a show when a review is so easy to write, as in this case. One session taking 60 minutes, 800 words with only the minimal editing. Best version of Jesus Christ Superstar I have seen. Well done all.
Cheers.
Antony N Britt
REVIEW: Jesus Christ Superstar
By Dan Shaw 15 June 2025
‘A Compelling & Dazzling Triumph’
★★★★★
Jesus Christ Superstar is no small undertaking. With its vocally demanding score, emotionally charged narrative, and complex choreography, Andrew Lloyd Webber’s iconic rock opera presents a formidable challenge to even the most seasoned performers. For a youth theatre to take it on requires courage, talent, and vision. Smile Musical Youth Theatre not only met that challenge – they smashed it out of the park with a production that was bold, beautifully executed, and moving.
From the moment the first notes of the overture rang out, it was clear this wasn’t just another youth theatre performance. This was theatre with ambition, crafted with a level of polish and precision that rivalled professional productions. The static but visually impactful set immediately immersed the audience in a moody, almost dystopian Jerusalem, with sombre tones and stark imagery setting the stage for the emotionally intense story of the final days of Christ.
Visually, the show was a feast for the eyes. Jack Tustin’s lighting design (Going Dark Theatrical Services) was both subtle and striking, adding drama in all the right places and heightening the emotional beats without ever distracting from the action. The costume design by Suzanne Harris was equally inspired, blending traditional silhouettes with contemporary touches, giving the show a timeless, grounded aesthetic.
The technical aspects, sound, lights, and set were seamless, with DW Technical Services delivering crisp, perfectly balanced audio that allowed every lyric and guitar riff to ring out clearly. The live band, under the expert musical direction of Elliott Lingard and assistant Tom Fitzpatrick, was simply phenomenal. The raw energy of Lloyd Webber’s rock score was brought to life with a punchy, emotionally charged sound that drove the narrative and never let the pace flag.
Director and choreographer Joe Logan delivered a vision that was clear, cohesive, and courageous. The staging choices were slick and subtle but powerful, with symbolic movements and blocking which elevated the storytelling beyond what you might expect from a youth company. And the choreography… from the opening number to the final notes, the movement was dynamic, stylised, and deeply expressive. The show opened with a bang – an electrifying burst of choreography that instantly drew the audience into the tension and turmoil of the show’s narrative.
Vocally, this cast was a revelation. Leading the production in the title role, Samuel Broomhall-Tighe gave a performance of immense emotional depth and vocal precision. His Jesus was human and vulnerable, never slipping into caricature. From the haunting “Gethsemane” to the tender, conflicted moments, Broomhall-Tighe brought authenticity and charisma to a role that demands both vocal athleticism and emotional depth. His interpretation was not just technically impressive – it was genuinely captivating from the outset.
As Judas, Macy O’Donoghue delivered a tour-de-force performance that was gritty, nuanced, and heartbreaking. Opening the show with “Heaven on Their Minds,” O’Donoghue immediately set the tone for the show – intense, thrilling, and magnetic. Their portrayal of Judas’s internal conflict was masterfully handled, giving real weight to the character’s arc. It’s a role that can easily veer into the melodramatic, but O’Donoghue kept it grounded, layered, and compelling.
Nancy Minaker brought a beautiful strength to the role of Mary. Her rendition of “I Don’t Know How to Love Him” was delivered with such clarity, sincerity, and emotional finesse that it became such a memorable moment. Minaker’s performance was sophisticated beyond her years, showcasing an extraordinary control of tone and expression that made her scenes some of the most poignant in the show.
Among the supporting cast, there were numerous standout performances. Josh Mills was dynamic as Simon, bringing an infectious energy to the stage. Michael Robinson gave a grounded, heartfelt portrayal of Peter. Freddie Perry as Pilate navigated the character’s arc with a strong sense of narrative and internal conflict, particularly powerful in “Pilate’s Dream” and “Trial Before Pilate.”
Taylor Simner’s Herod was a showstopper in every sense. Their take on “Herod’s Song” was flamboyant and humorous, walking the fine line between satire and sincerity, and never losing sight of the show’s darker undercurrents. Meanwhile, Makena Straker-Sharpe and Charlie McRobert gave commanding performances as Caiaphas and Annas, respectively. Their vocal power and stage presence in “This Jesus Must Die” provided the perfect dose of menace and theatrical gravitas.
The ensemble, often the unsung heroes in youth productions, were simply superb. Each member brought dedication, focus, and energy to the stage, working as a tight-knit unit throughout. Their discipline and dynamism were especially evident during set-piece moments such as the intense “39 Lashes,” which was staged with brutal clarity. The visuals of white costumes splattered in red were not only powerful – it was haunting, and one of the lasting images from the show.
The production team deserves high praise for crafting such a cohesive and professional piece of theatre. Joe Logan (Director/Choreographer), Elliott Lingard (Musical Director), Sarah Jennings (Vocal Coach), and Tom Fitzpatrick (Assistant Musical Director) clearly poured their hearts into this show, and their collaborative efforts paid off tenfold. The vision was ambitious, but the execution was flawless.
Smile Musical Youth Theatre’s Jesus Christ Superstar was nothing short of extraordinary. It was a breathtaking example of what youth theatre is capable of when given the right guidance, the right team, and the freedom to aim high. Every element, from performances to production, was handled with care, passion, and an unmistakable sense of professionalism. This wasn’t just an excellent youth theatre production; it was an excellent piece of theatre, full stop.
Smile Musical Youth Theatre should be immensely proud. This was a triumph.
REVIEW: Jesus Christ Superstar
By NODA May 2025
If there is one thing that you can say about Joe Logan and Smile Musical Youth Theatre it is that they are not afraid to take on a challenge – given the pedigree of the Rice/Lloyd Webber musicals and their scores and the sheer enormity of the task in hand, this was a challenge that you knew they were going to relish – and relish it they did!
The first thing that you noticed when taking your seat at The Dormston Mill Theatre was the stage revealed an orchestra pit, live musicians was a new departure for Smile and as soon as they struck up the opening notes of this iconic overture, you knew exactly why the move was necessary.
From the outset, you knew you were in for something very special and momentous. This rock opera launches memorable song after song at you without giving you time to gather your thoughts and the extremely talented cast coped with the relentless pace with ease.
Macy O’Donoghue as Judas opened to proceedings with an electrifying rendition of ‘Heaven on their Minds’, chilling you to your bones with unbounded talent. Major highlights came thick and fast – a tremendous performance by Nancy Minaker as Mary Magdalene gave us a calming yet foreboding version of ‘Everything’s Alright’. We meet the Priests – Caiaphas, Makena Straker-Sharpe and Annas, played by Charlie McRobert with Eli, Cian Grayson, Zadok, Cat Allsop and Phineas, Maxwell with ‘This Jesus Must Die’ with a scary venom that took the audience by surprise. At other occasions they gave a frighteningly real performance oozing evil across the footlights with great facial expressions showing what they were really feeling as opposed to the weasel-words that were coming from their mouths. Freddie Perry’s Pilate was an intriguing portrayal of a man wrestling with his conscience and every moment of angst came across in ‘Pilate’s Dream’, a moving interpretation, tugging at the heartstrings. Mary’s ‘I Don’t Know How to Love Him’ was a veritable showstopper and there were many handkerchiefs at the ready as she confidently gave a faultless delivery. Alongside these amazing moments were some genius ensemble pieces. It would be invidious of me not mention the whole company as I appreciate this superb production and the apostles featured heavily in the company members namely: Peter, Michael Robinson; Andrew, Hannah Allsop; James Zebedee, Isabella Fitzpatrick; John, Amelia Perry; Bartholomew, Katelyn Elizabeth Harper; Matthew, Evie-Marie Smith; Thomas, Taylor Simner; James Alphaeus, Grace Elizabeth Paskin; Thaddaeus, Annabelle Nneka Amogu; Phillip, Violet Flynn Jones and Simon the Zealot played by Josh Mills who gave a stirring rendition of ‘Simon Zealotes/Poor Jerusalem’ and the other Apostles, also some great performances from The Soul Girls – Molly-Ann Oakley, Isla Smith and Ezme-Jean Forbes-Moore and the ensemble Jackson Tomkys, Libby Sandle and Georgia Haynes who were a part of as great numbers such as ‘What’s the Buzz’, ‘The Temple’ and ‘Hosana’. The exhausting first act concluded with Judas taking the lead in ‘Damned for All Time/Blood Money’ along with the company.
Act Two was equally as riveting as we see Peter come into his own with ‘Peter’ Denial’ and ‘The Arrest’ and of course, ‘Herod’s Song’ was a little light relief, Taylor Simner as Herod who went down a storm with the audience as did Mary’s ‘Could We Start Again Please? again with Peter. For anyone that knows the show, there was that uneasy feeling as we were approaching the finale – the harrowing ‘Trial by Pilate/39 Lashes’ with Freddie Perry’s Pilate giving a most moving piece of theatre and Joe Logan’s enactment of the lashes was nothing but incredible and masterful. This was followed by ‘Superstar’, with the company putting so much energy and enthusiasm into this legendary number but then, just to make you feel utterly reprehensible for enjoying the number it is the ‘Crucifixion’. There is one character and performer that I haven’t mentioned, the star integral to the production and Smile Youth Theatre have that star! Samuel Broomhall-Tighe as Jesus was superlative – everything that he did was in a class of its own – his amazing voice and range particularly in ‘Gethsemane’ was wondrous, along with Macy O’Donoghue’s Judas and his vitriol and hatred during ‘The Temple’ was frightening.
None of this would have been made possible without the diligent Production Team – Joe himself as Director and Choreographer, incredible work form Musical Director Elliott Lingard and Assistant Musical Director, Tom Fitzpatrick and Production Assistant and Stage Manager, Sarah Jennings – they have achieved miracles along with the Technical back-up of crew, Deputy Stage Manager Ethan Hamblett and Ashton Talbot and Luke Griffiths, Amazing Lighting Effects from Jack Tustin and Going Dark Theatre Services and Spot Operators Harry Gomm and Josh Lowe. Sound was in the capable hands of Daniel Woodall and Ethan Hamblett from DW Technical Services and Suzanne Harris’ Costumes and Bev Mills’ Props completed the piece.
I was blown away by the concept and performances in this production and everyone involved in any way deserves the plaudits they received and richly deserved. Thank you to everyone at Smile Musical Youth Theatre for allowing me the privilege to witness this amazing night at the theatre and for my warm welcome. Incredible.
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REVIEW: Percy Jackson and The Lightning Thief
By The Theatre Flyer September 2023
‘A Trumph:Smile Youth Production Jesus Christ Superstar’
★★★★★
Smile Youth Production rendition of "Jesus Christ Superstar" is nothing short of spectacular. From the moment the curtain rises, the audience is transported to a vibrant and emotionally charged world. This isn't just a performance; it's an experience.
The sheer creativity on display is breathtaking. The innovative choreography, particularly the incorporation of tap dancing and impressive gymnastics in the bustling market scene, adds a unique and captivating layer to the classic story.
The vocal prowess of the cast is truly exceptional. Sam, as Jesus, delivers a powerful and moving performance, showcasing an incredible vocal range and emotional depth. Nancy, as Mary Magdalene, is equally impressive, effortlessly reaching soaring notes and conveying the
character's inner turmoil with grace and vulnerability. Macy, playing Judas also deserves high praise, possessing a captivating voice and bringing a complex intensity to the role.
Beyond the individual performances, the production cleverly utilizes the entire theatre space, creating an immersive experience for the audience. The actors venture among the viewers during specific songs, drawing them into the story and blurring the lines between stage and reality.
Special mention must be given to the production team, who have crafted a truly remarkable show. The attention to detail is evident in every aspect, culminating in a profoundly moving ending that leaves the audience in captivated silence.
The supporting cast shines just as brightly. The twelve disciples are exceptionally talented, bringing energy and commitment to their roles. The portrayal of King Herod provides a welcome dose of comic relief amidst the drama, while the priests deliver serious and impactful performances.
Overall, Smile Youth Production's "Jesus Christ Superstar" is a powerful, innovative, and emotionally resonant production that showcases the immense talent of its young performers. It's an amazing show in a great theatre and well worth the ticket price.
Congratulations to everyone involved!