Samantha Barks : The Cathedral Tour

Lichfield Cathedral

Wednesday 12th November 2025

By : Tracey Spare for WOISC

Photography : Tracey Spare for WOISC

Award-winning Broadway, West End and film star, Samantha Barks, breezed into Lichfield Cathedral last night for the first night of her seven-night Cathedral Tour.

Samantha Barks first came to public attention in 2008 finishing third in the BBC talent show ‘I’d Do Anything’ – Andrew Lloyd Webber’s search for a new unknown lead to play Nancy in the West End revival of Oliver in the West End.

In 2009 she was confirmed to play the lead role of Sally Bowles in the UK tour of Cabaret and made her film debut as Éponine in the 2012 adaptation of Les Misérables.

She played Velma Kelly in the 2013 Hollywood Bowl production of Chicago and has since followed with further landmark lead roles on Broadway in the stage musical of Pretty Women & as Elsa in the West End production of Frozen.

Over 700 people packed into Lichfield Cathedral to hear Samantha take us on an eclectic journey through some of her lead roles including songs from Frozen, Oliver, Les Misérables and a spellbinding sole rendition of her favourite Andrew Lloyd Webber song Another Suitcase in Another Hall from Evita.

Many of the remaining songs were selected by members of the audience with the evening intertwined answering questions submitted ahead of the concert by fans gathered in the medieval cathedral.

She seamlessly included popular songs including Shania Twain’s ‘You’re Still the One’ along with renditions of ‘Lose Control’ by Teddy Swims, and ‘What Was I Made For? by Billie Eilish both of which she performed whilst winning the 2025 ITV Series of ‘The Masked Singer’.

It was the first time she’d performed in a cathedral, and she was undoubtedly thrilled of opportunity to perform in such unique surroundings. The stripped back set – she was accompanied by a pianist and cellist surrounded by dozens of candles at the front of the stage – allowed her voice to blossom amongst the high arches.

The end of each song was greeted with rapturous applause, and she returned to the stage to conclude the concert with an encore singing ‘On My Own’ from Les Misérables.

Samatha Barks Cathedral Tour details can be found visiting https://lambertjackson.co.uk/samantha-barks

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.