Brisbane review: Talented Cast Sing Jesus Christ Super Star
- Mar 10
- 3 min read
Updated: Mar 14
By Lilian Harrington
Production: Jesus Christ Super Star
Music and Lyrics: Andrew Lloyd Webber & Tim Rice
Company: Redcliffe Musical Theatre (R.M.T)
Directors: Madeleine Johns, Zahlee Backstone
Musical Director: Rhonda Davidson
Location: Redcliffe Entertainment Centre
Season: March 5- 8, at 7 30 pm and Mats. 2 pm
Bookings: Try booking / Jesus Christ Super Star
IMAGE BY BRUCE REDMAN
Opening with those well-known haunting chords on the electric guitar, Redcliffe Musical Theatre’s production of “Jesus Christ Super Star” began at the Redcliffe Entertainment Centre. Directed by Executive Director Madeleine Johns and Assistant Director Zahlee Backstone, and the highly accredited Musical Director, Rhonda Davidson; the Creatives have gathered together an awesome cast of talented singers, dancers and musicians, to perform in this very popular musical.
The story of Christ’s crucifixion is well known to many, and it still encourages a good audience. It has to be the inspiring and infectious music of Andrew Lloyd Webber and the lyrics of Tim Rice, with its intense, pulsating beat, that reaches out to an audience. The story of Christ’s demise and trial is told through vocals and visuals and kept the audience mesmerized.
The Entertainment Centre is a great venue for staging Jesus Christ Super Star because the musical is a spectacle. The directors have designed and staged it on several levels, and used special lighting and technical effects, on a scale which would have been difficult to achieve in a small space. The sponsorship and assistance given from local companies,, has meant that provided an opportunity for R.M.T to produce a very positive standard of performance, that showed in their level of confidence; many in the cast have studied music and musical theatre and were able to bring a polished performance.
The work of the creatives was seen not only in the choreography from Jill Lazuta, who had developed some awesome dancing routines with the ensemble, which complimented the storyline, but with Rhonda Davidson’s coaching in the vocal solos and ensemble.; At times those with lighter voices had to compete with the level of the orchestra accompanying them, so their lyrics were not always heard as well as those with more powerful voices. Jesus Christ Super Star is sung throughout so the balance of music and vocals should be heard at a comfortable level, to help the audience hear the lyrics clearly.
Stand out performances came from Mary Magdalene (Stephanie Collins), a trained Soprano, Opera and Musical Theatre artist. Judas (Erickson Ilustre), who has played Jesus Christ previously in the R.M.T 2014 production, captured the role of Judas with flare and punch which gave his character, versatility, intensity and depth, along with his rock singing. King Herod (Jake Hollingsworth), entered on his slide-on striped chair with four brightly costumed dancing girls, displaying panache and flamboyancy; his entry brought humor and light relief in Act 2. His featured scene contrasted with the trial and beatings Jesus endured before the crucifixion; this was achieved through some clever choreography at the end of which a cross suddenly appeared out of the stage floor. Further, Jesus Christ (Jeandr Le Roux), a well-known Brisbane tenor, with a distinctive timbre and vocal power gave an interpretation of Jesus, a very humble man, a carpenter, always dressed modestly in sandals, no wedding ring, and a mentor to his followers, had a somewhat different approach in this production.
Redcliffe Musical Theatre Creatives, have been lucky to assemble such a talented cast for this highly technical production of Jesus Christ Super Star, which was well received by local audiences.
Community theatre, like the one showcased in this production, reveals how local talent can adapt iconic narratives in meaningful ways. The creative collaboration among directors, performers, and technical staff forms a rich tapestry of performance that can greatly affect audience reception. In discussions surrounding this https://backyardjem.co.nz/ NeoSpin often arises as a metaphor for how innovative approaches can refresh established genres, thus reshaping expectations and enhancing engagement.
What stands out is how community theatre navigates scale, balancing ambition with limited rehearsal and technical resources. Midway through ticketing and bookings, Pay ID reflects how https://www.nogod.org.nz even small productions depend on reliable, low-friction payment methods to manage demand and cash flow.
One evening after work in Australia I was browsing a discussion thread where people were sharing stories about their online gaming sessions. Someone described how they discovered a new platform while watching a livestream and decided to give it a try. In the middle of the story there was a link to King Billy casino. I opened it mostly out of curiosity and spent a few minutes exploring the games. Eventually I tried a couple of rounds myself. At first it felt like one of those unlucky sessions, but later a good win appeared and balanced everything out. I didn’t expect much, yet the evening ended in a pretty decent mood.
Community theatre productions often demonstrate how collaborative creative work brings well known musicals into new local contexts. The combination of direction, musical leadership, and ensemble performance shapes the audience experience, and in broader online discussions even unrelated references like https://ethical.travel/ The Pokies sometimes appear when people compare recognizable names across different contexts.
Theatre productions often rely on the coordination of direction, music, and performance to transform well known works into new stage experiences. In broader discussions about how terminology shapes audience attention Royal Reels sometimes appears https://buzzconf.io/ as a neutral reference example used to illustrate how distinctive names influence perception in different contexts.