Jesus Christ Superstar – Sutton Coldfield Musical Theatre
Sutton Coldfield Town Hall
Monday November 3rd – Dress Rehearsal
By Nigel Gambles
Photography – Studio 55 Photography
I know this show has enduring appeal; friends had raved about various productions of the rock opera, citing its powerful score, emotion, and timeless themes. Yes, the show still feels hauntingly relevant today. Telling the story of Jesus’s last week, themes of betrayal, fame, fear, bullying, and salvation can all be interpreted through a modern lens. Add to that a soaring, emotionally charged score, and you have a musical that still resonates today.
I first saw this show in 1973, it was the original production starring Paul Nicholas and Dana Gillespie when I was a young and impressionable teenager on a school trip to London. To this day, and after seeing many different musicals since, Jesus Christ Superstar remains one of my absolute favourites. It left a lasting impression on me through the sheer power of the music, the extraordinary vocals, and its timeless themes, which still feel just as relevant half a century later.
It takes no small amount of courage to stage Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar, a rock opera that demands powerhouse vocals, razor-sharp musical timing, and a flair for the theatrical. Sutton Coldfield Musical Theatre’s production rises to the challenge with energy, conviction, and moments of genuine brilliance.
From the opening guitar riff of “Heaven on Their Minds,” it was clear this was a group ready to give their all. Leo Foëtu-Foster’s Judas anchored the show with a strong voice and emotional intensity, navigating the character’s moral torment with a raw, human touch. Opposite him, Tom Well’s Jesus balanced serenity and anguish, delivering “Gethsemane” with a vulnerability that will hush the room. Definitely a standout moment of the evening.
Juliet Fisher’s portrayal of Mary Magdalene was another standout performance. She brought warmth and quiet strength to the role, balancing tenderness with emotional depth. Her performance of “I Don’t Know How to Love Him” was delivered with sincerity and beautiful control, providing a gentle contrast to the intensity of the surrounding scenes. The chemistry between Mary, Jesus, and Judas was believable and added a human touch to the story’s spiritual themes.
The chorus brought strong energy to ensemble numbers like “Hosanna” and “Superstar,” and their enthusiasm, vibrant presence and commitment creating a dynamic atmosphere.
Making his debut as director Simon Smith has made imaginative use of the modest stage space, using minimal props barring some stepped section at the rear and sides of the stage and the cross in the finale. Doing so he has created a fast-paced production that never loses its sense of intimacy.
A particular highlight of this production was the choreography, which was both imaginative and dynamic. Under the direction of Maggie Jackson, the movement was tightly executed and visually striking, enhancing the storytelling without ever feeling forced. From the pulsating energy of the crowd scenes to the subtle, expressive gestures in the more reflective moments, the choreography added a layer of professionalism and polish that lifted the entire production. It was clear the cast had worked hard to master the demanding routines, and their commitment paid off beautifully.
The live band, led by Sheila Pearson, provided a solid rock backing that gave the show its essential drive. At times the volume seemed a little overpowering, but the overall sound was impressive.
Lighting by Going Dark Theatrical heightened intensity and mood, while the costuming blended traditional and contemporary elements effectively. More than the technical achievements, what shone brightest was the passion of the entire company.
This production was clearly a labour of love, and that heartfelt commitment carried right through to the final moments.
