North East Theatre Reviews

13/06/2026

Shrek The Musical JR - Drama Geeks

Drama Geeks’ latest production, Shrek The Musical JR, is a joyful, high‑energy triumph led by an exceptionally talented young cast. As someone who adores this musical for its humour and surprising emotional depth, I was thrilled to attend — and this company did not disappoint. Their professionalism, confidence, and commitment to storytelling were remarkable throughout.

Shrek portrayed by Isla Hamilton delivered a standout performance in the title role, maintaining a charming Scottish accent and capturing Shrek’s blend of grumpiness and vulnerability with real nuance. Their stage presence was assured, and they anchored the production with maturity beyond their years.

Donkey played by Lola McDonagh brought infectious energy and razor‑sharp comedic timing to Donkey. Their chemistry with Shrek elevated every shared scene, and “The Travel Song” was a particular highlight — warm, witty, and beautifully harmonised.

Kate Woodward shone as Princess Fiona, offering powerful vocals and a confident, charismatic performance. Her stage presence was captivating, and her vocal ability at such a young age is genuinely impressive.

Lord Farquaad - Finley Peralta’s portrayal of Farquaad was a comedic triumph. Drawing inspiration from Christopher Sieber’s iconic interpretation in the original Broadway production, Finley delivered exaggerated physicality and impeccable timing that had the audience in hysterics. Making a room full of adults laugh that hard is no easy feat.

Dragon, embodied by Ava Yorke, delivered a powerhouse rendition of “Forever (You’re Gonna Stay)”. Their vocals filled the theatre with confidence and emotional intensity, marking Ava as a young performer with exceptional promise.

Mia Fairley was a delight as Gingy — expressive, engaging, and consistently entertaining. They stood out in every ensemble number, demonstrating natural stagecraft and a bright future in performance. I cannot wait to see more from them!

Young Fiona & Teen Fiona – Isabelle Foster & Nina Yates. Both performers delivered gorgeous vocals in “I Know It’s Today”, navigating the song’s notoriously tricky round with clarity and ease. Their harmonies were beautifully blended and confidently executed.

Papa & Mama Ogre – Nancy Fenwick & Annabel Windass opened the show with warm, velvety vocals, setting the tone perfectly. Their dynamic was charming, and the adorable Elliot Waring as Baby Ogre added a lovely touch of humour and heart.

The ensemble of Fairytale Creatures was a joy to watch. Each performer embraced their character’s individuality — from Pinocchio to the Wicked Witch, Ugly Duckling, Three Little Pigs, and Big Bad Wolf — creating a vibrant, comedic world on stage. Numbers such as “Freak Flag” and “This Is Our Story” were bursting with energy, personality, and impressive harmonies.

The final scene, featuring the full cast, created a warm, uplifting atmosphere that had the audience clapping and singing along.

This is my first reviewing Drama Geeks’ production and I can say it is an undeniable success — fun, heartfelt, and full of talent. The cast’s enthusiasm radiated throughout, and their teamwork and dedication were evident in every moment.

The set made excellent use of the stage, creating a vibrant and dynamic world for the story to unfold. The costumes were bright, fun, and full of character, enhancing the fairytale atmosphere beautifully. The choreography, crafted by the creative team — Charlotte Reid, Georgina Whale‑Spencer, Rachel Marshall, Laura Fulgenzi, Sally O’Boyle, and Macie Sinclair — was well‑executed and perfectly suited to the young cast, showcasing their energy and confidence.

Sound design by Adam Roff of North East Theatre Supplies and lighting by Gary Ward further elevated the production, ensuring every moment landed with clarity, colour, and impact. A huge well‑done to every one involved, and the very best of luck for tomorrow’s show.

12/06/2026

Shrek the Musical - Dryburn Theatrical Workshop

Dryburn’s Shrek The Musical was performed at Park View School, a stage that’s got a lot of depth and can easily accommodate a large ensemble. Director Michelle Coulson made sure that the space was utilised really well, with a good use of curtains and scenery that made for simple location changes, of which there are many.

I also thought the lighting, done by Martin Warden and Craig Holt, had a lot of standout moments too, with some really effective use of colour and spotlights.

Choreography by Rebecca Scott was great, with a lot of variation in the style of numbers that we get. All of the dancers performing these numbers were fantastic, performing the moves with confidence and injecting a lot of personality into them too.

Musical Director Rhys Chambers has done a great job with making sure the vocals and harmonies for this show were fantastic.
The live band was great too, making all of the big numbers much more effective.

A show like this lives and dies on its performances, and luckily there are some fantastic performers in the show.

As the titular character, Joe Coulson made it look effortless, and that’s hard when you’ve got a lot of costume and makeup on that’ll no doubt be a lot to take with all the lights pointing at you! An incredibly charismatic and sympathetic performance, with brilliant vocals. “Who I’d Be” and “Build a Wall” were particular highlights.

Emma Coulson was also great as Princess Fiona, another fantastic vocalist with a great stage presence. Her chemistry with Joe was fab, and her number “I Know It’s Today” was performed very well, with great support from Amy Hibbits and Willow Horrocks as the younger versions of the character.

Erin Stabler was a fantastic comedic foil as Donkey, always trying to find a laugh in every scene, but still delivering great vocals. Her number “Make A Move” with the Three Blind Mice was brilliant.

Phil Stabler as Lord Farquad was also a highlight, a fantastic comedic performance that had the audience in stitches every time he “walked” on stage! “What’s Up Duloc” was a fantastic number, both very funny and technically impressive with some great choreography.

The remaining principal roles of Frances Wood as The Dragon, Abbey Rutherford as Pinocchio, and Victoria Jackson as Gingy/Sugar Plum Fairy were all fantastic. Wood’s number “Forever” shows her to be a vocal powerhouse, and “Freak Flag” demonstrated Rutherford and Jackson as fantastic performers amongst a great ensemble of fairytale characters, some managing to perform in some very difficult outfits!

Overall, this was a fab time at the theatre, and I’m very excited to see what Dryburn will do next!

05/06/2026

Finding Nemo Jr - Dynamique Arts

From the moment I walked into the theatre, I knew this was going to be a special production. The use of neon colours immediately immersed the audience in the underwater world, whilst the costumes were a real triumph. Beautifully designed, vibrant and instantly recognisable, they helped bring the world of Finding Nemo to life before the show had even begun.

Finding Nemo is a story that many of us grew up with, and I was particularly excited to see how it would translate to the stage. Thankfully, Dynamique Arts captured all of the heart, humour and emotion that makes the film so beloved.

One of the strongest aspects of the production was undoubtedly the choreography. From the opening moments, the movement helped establish both the world and the characters whilst also driving the story forward. The opening sequence introducing us to life in the reef was beautifully staged, and the choreography used during the tragic barracuda attack was especially effective. Throughout the show, every dance number felt purposeful and polished, creating a production that constantly felt alive and moving.

Liv gave a confident performance as Coral, immediately establishing the loving relationship between Coral and Marlin before the story’s emotional opening.

Ollie brought tremendous warmth and character to Marlin. His performance balanced the overprotective nature of the character with genuine vulnerability, allowing the audience to invest in his journey from the very beginning. His singing throughout was consistently strong, but what impressed me most was his ability to act through song, ensuring every number helped tell the story rather than simply showcasing vocals. He captured the many different sides of Marlin brilliantly, moving seamlessly between worry, frustration, determination and humour as the story progressed. His comedic timing was excellent when required, helping to balance some of the show’s more emotional moments. The character felt believable throughout, and Ollie delivered a sincere and engaging performance that kept the audience invested in Marlin’s journey from beginning to end.

Phoebe was absolutely adorable as Nemo. She captured Nemo’s determination, excitement and vulnerability perfectly, creating a character that the audience instantly rooted for. That’s My Dad / Where’s My Dad? was beautifully sung, and each reprise seemed to carry even more emotion as the story progressed. The relationship between Nemo and Marlin was particularly believable, with both performers creating a lovely bond that sat at the heart of the production.

Dory was double cast between Isy and Ava. I had the pleasure of seeing Ava as Dory, and she was simply wonderful. From the moment she burst onto the stage, she brought endless energy, warmth and humour to the role. Her singing was excellent, and her comic timing was fantastic throughout. Dory’s constant struggle to remember Nemo’s name provided some of the biggest laughs of the evening, and Ava delivered every one-liner brilliantly. Just Keep Swimming was performed with real confidence and personality, supported by excellent ensemble dancing that made the number a real highlight. I am sure that Isy would have been just as brilliant in the role, but unfortunately I didn’t get the opportunity to see their performance.

Evie, Eliza and Evelyn were lovely as Pearl, Tad and Sheldon. Their costumes were beautiful, they remained fully in character throughout, and showed impressive confidence and stage presence.

Luke was fantastic as Professor Ray. His accent was excellent, and the puppet itself was absolutely incredible. The scenes involving Professor Ray were among my favourites of the production, filled with energy, humour and wonderful ensemble work.

The Tank Gang, played by Eva, Molly, Abigail, Sophia and Sophie, worked brilliantly together. Their camaraderie was believable throughout, and each performer brought plenty of personality to their role. As Gill, Sophia led the first rendition of We Swim Together extremely well, singing beautifully and helping establish the group’s bond from the outset.

The sharks were another real highlight. Esme, Bobby and Carina created a hugely entertaining trio, and I loved the decision to costume them in suits and top hats. Fish Are Friends Not Food was one of the standout musical numbers of the evening, with a fantastic dance break and excellent character work throughout. Bruce was particularly convincing, seamlessly switching between friendly host and crazed predator when temptation got the better of Bruce. The moment they carried off a fish to eat was a brilliant touch.

The Mine! seagulls were hilarious throughout and provided a constant source of comedy. Penny’s Nigel was wonderfully animated, expressive and full of personality, making every appearance memorable.

Act Two continued the momentum established in the first half. The turtles’ section was another highlight. Emma delivered fantastic vocals as Crush, whilst Scarlett was wonderfully flexible and energetic as Sq**rt. The acrobatics throughout this section were incredibly impressive, and the controlled chaos of the turtle scenes felt beautifully choreographed, perfectly capturing the spirit of the film.

One thing I particularly appreciated was how faithfully the musical retained many of the key moments from the film. Junior productions sometimes have to sacrifice favourite scenes due to running time restrictions, but this adaptation managed to keep so much of what audiences love about Finding Nemo whilst still maintaining a strong pace.

Musically, the show was very successful. The Swim Together reprise was sung beautifully, with some gorgeous harmonies and a beautiful opening section from Phoebe as Nemo. The reprises throughout the production were especially effective, adding emotional weight as the story progressed. The finale, a reprise of Big Blue World, was another vocal highlight, providing a joyful ending and showcasing just how strong the company sounded when singing together.

The ensemble deserve enormous praise. Throughout the production they contributed hugely to the atmosphere, storytelling and energy of every scene. Whether supporting musical numbers or taking part in dance sequences, they approached every task with commitment and enthusiasm. What stood out most was how well the cast worked together. There was a genuine sense of trust and teamwork throughout the company, something that was particularly evident during the many lifts and partner work sequences woven throughout the choreography. These moments were performed smoothly and confidently, demonstrating not only strong technical rehearsal but also the trust the performers had developed in one another. It is easy to see when a cast enjoys performing together, and that sense of support and encouragement was evident throughout the entire show. Esme, Fern, Rina, Seren, Evie, Katy, Ava, Evelyn, Sara, Eliza, Scarlett and Gracy should all be incredibly proud of the contribution they made to the success of the production.

Behind the scenes, the creative team deserve enormous credit. Kelsey Douglas, Gemma Hutchinson, Millie Weaver, Cat Wilson and Christine Ibinson clearly worked together to create a show that made full use of its cast, staging and performance space. The three-sided audience configuration was utilised brilliantly, creating an immersive experience and ensuring the performance area always felt alive. The production was full of energy, creativity and heart, helping bring the underwater world to life.

The technical team of Aidan Saunders, Gary Saunders and Corey Clarke also deserve recognition. The lighting helped create a vibrant underwater atmosphere from the moment the audience entered the theatre, whilst the sound supported the production well throughout and helped bring the world of Finding Nemo to life.

Finding Nemo Jr. was tremendous fun from beginning to end. Packed with colourful characters, memorable songs, excellent choreography and a cast who clearly loved every second of being on stage, it was impossible not to leave with a smile on your face. This was a production full of heart, energy and imagination, and I left the theatre with that lovely feeling that only good theatre can give you. I genuinely wish the cast a very happy “break a fin” for the rest of the week.

28/05/2026

The Addams Family - Sunderland Theatre Company

This was my first time seeing The Addams Family, and only knowing a few songs, I wasn’t sure what to expect. What I didn’t expect was how joyous and hilarious it would be! Brian Waldock-Leach directed this production with a clear vision, assisted by Helen Clarke and Lisa Smith. The use of the stairs and upper platform was great, and I particularly loved the two frames frequently used by the Ancestors. Choreography by Kate Walker, as always was clean and perfectly suited to each song. ‘The Tango de Amor’ was a particularly memorable number, with beautiful choreography and lovely dancing. Under the musical direction of Matthew Ainsworth and James Pennell-Tutill, the cast were vocally confident and strong.

Playing the suave role of Gomez was Mathew Clarke, who absolutely oozed charisma and charm as he led us through the story. His accent was perfect, keeping his diction crystal clear whilst embodying the role entirely. Mathew committed to the role completely, and had the audience on his side from his first word. This was one of my favourite roles from Mathew, and he just gets better and better.

Rebecca Crackett always excels in whatever role she plays, but in the role of Morticia we were able to see a very different side to her skills. Rebecca had the perfect balance of s*x appeal and sultry vocals. Her physicality brought the character to life, and her effortless vocals are to be awed. I truly believe Rebecca could play any role and be outstanding, a true triple threat.

Playing the iconic Wednesday Addams was the gorgeous Chantelle Taggart, who was perfectly stubborn and entirely believable in her role. Chantelle was confident, her vocals were very strong, and her embodiment of Wednesday was well-studied and understood. I particularly loved her rendition of ‘Pulled’; her voice was pitch perfect!

As the loveable Uncle Fester, Kristan Bailey was equally hilarious and endearing. His comic timing, voice work, and kinetic acting were all incredibly strong, and he had the audience in stitches repeatedly. He had the funny Fester voice down, but matched it with genuinely lovely singing - he truly couldn’t have played the part better. A real show stealer!

Playing the role of Lucas was Danny Ross, who has an absolutely gorgeous voice! He played the hopeless romantic part extremely well and his chemistry with Wednesday was believable.

As the colourful Alice, Rebecca Smith truly threw herself into this role! Contrasting the reserved side of the character with the crazy wild lady within, Rebecca embodied the role beautifully. With some gorgeous vocals and a superb rendition of ‘Waiting’, Rebecca was excellent.

Sean Barratt portrayed the straight-laced Mal, a stark contrast to the roles typically seen in Sean’s work. Sean played the role very well, showing a great contrast to the eccentric Gomez. He had some really lovely moments, and I loved his transformation at the end!

As the mischievous Pugsley, Erin-Rose Richards was funny, endearing, and charming. Her breath control and beautiful voice made the song ‘What If’ a real poignant moment in the show. She worked really well with Chantelle and the sibling dynamic was excellent.

As the hilarious Grandma, Lily Lambton was a real highlight. She was quirky and feisty and had incredible comedic timing.

Steve Dodds played Lurch, and truly stayed in character every second! I loved his bass notes in the finale, and his posture was impeccable. Completing the family was Grace Brooks as Cousin Itt, who was also gorgeous to watch as an ancestor.

A special mention must go to the ensemble of Ancestors, who each embodied their individual roles brilliantly. With some very slick dancing, and singing in perfect harmony, each ancestor had a moment to shine. A particular highlight was Abigail Bowman as the Ballerina Ancestor, and her truly beautiful solo as the Moon. Her skills are just out of this world, and she was the perfect addition to the gorgeous song ‘The Moon and Me’.

I think this was perhaps my favourite show STCo have ever done, a true example of clever casting, utilisation of the skills of the cast, and clear artistic vision. An absolute triumph, well done Sunderland Theatre Company.

15/05/2026

Kinky Boots - Spennymoor Stage and Song

Kinky Boots is an uplifting, award‑winning musical that I’ve somehow never managed to catch until tonight — and what a first experience it’s been. As a long‑time fan of Cyndi Lauper, I’ve always been intrigued by this show, and after seeing it live, it’s easy to understand why it’s spoken about with such enthusiasm. The energy, the heart, and the sheer joy of the production absolutely live up to the hype. A huge well‑done to Spennymoor Stage and Song for pulling off such a production with ease and confidence.

Taking on the leading role of Charlie, Michael Brabbs delivered a performance that felt fully lived‑in. He didn’t just play the character; he claimed it. His vocals were clean and controlled, and his characterisation remained consistently sharp throughout, making him an absolute standout to watch with powerhouse vocals that flawed the whole room. Incredible.

Stepping into the flamboyant and demanding role of Lola, Liam Goodman delivered a performance bursting with charisma and confidence, owning the stage with every entrance. And gave such heartfelt performance of “Not My Fathers Son” with stunning harmonies from Michael Brabbs.

Heather Whitfield, as Lauren, the ever‑endearing working‑class girl, delivered a performance that feels instantly relatable, bringing an effortless charm and sharp comedic instinct to every moment she’s on stage.

The driven and uncompromising Nicola, played by Faye Rogerson, brings energy for days, commanding attention every moment she steps onto the stage with gorgeous vocals.

Taking on Don, Lola’s arch‑nemesis, Craig Daley delivered a performance packed with grit and brought real weight and attitude to his character.

Robyn Watson, in the role of Pat, the office manager who isn’t afraid to let her wild side shine, brought a grounded yet engaging presence throughout, Trish, played by Helen Pryce, came across as wonderfully relatable and had great facial expressions bringing something to every single scene.

George, a traditional factory worker who gets the job done and keeps himself to himself, is portrayed by Ian Patterson with remarkable authenticity. His natural charisma shone throughout the performance, giving the character real depth and quiet strength.

Harry, played by Louis Sample was a successful and self‑assured foil to Charlie, and Mr Price, Charlie’s father, played by Dan Riches both delivered short but memorable performances.
�The Angels — the dazzling drag performers who brought The Blue Angels Nightclub to life — played by Liam Etherington, Hannah Crosby, Kelly Elphick, Mads Loveys, Michael Taylor, and Stacey Thompson, each delivered such vibrant, high‑energy performances that lit up the stage. Young Charlie and Young Lola delivered fantastic performances, showing professionalism and impressive potential for their age, I can’t wait to see what they do next.

Made up of an impressive and energetic ensemble, this production has been a joy to watch and an absolute pleasure to review. A particular stand out performance for me tonight was “Raise You Up” which was bursting with comoradory, slick choreography and was uplifting, the audience couldn’t stop clapping and whooping along, it was a fantastic atmosphere!

Once again, congratulations to you all. The incredible team made up by Producer, Liam Etherington, Musical Director, Jill Jackson and Choreographers, Ann-Marie Clayton and Stacey Thompson have produced an outstanding show that captivated the audience resulting in a well deserved standing ovation! I cannot wait to see what Spennymoor Stage and Song do next.

13/05/2026

The Wizard of Oz - Riverside Musical Theatre Company

There’s something incredibly nostalgic and comforting about The Wizard of Oz, and Riverside Musical Theatre Company clearly understood the heart of the show from the very beginning. From the moment the curtain rose, this production felt warm, colourful, and full of genuine charm. I must compliment the whole cast on their consistent accents throughout - this is no easy task!

One of the first things that stood out was the set. The Wizard of Oz door itself was a particularly lovely piece of staging and immediately created the right atmosphere. The colourful costumes throughout the production added to the visual appeal, especially within the Oz sequences, and the lighting during the tornado scene was used cleverly to help bring the moment to life. The addition of wind effects worked well too and added extra drama to the transition into Oz.

Demilee Turnbull carried the show beautifully as Dorothy Gale. Her characterisation was believable throughout, and Somewhere Over the Rainbow was delivered with clear diction and very pretty vocals. Her movement throughout the production felt very true to the character, helping create a warm and believable Dorothy from start to finish. This was particularly lovely during We’re Off to See the Wizard, where her interactions with the group felt natural, energetic, and full of charm.

Emily Crawford deserves a special mention for her work puppeteering Toto throughout the production. Bringing such an iconic character to life in a believable and engaging way is no easy task, yet she handled it brilliantly. The puppeteering felt natural and well controlled throughout, and moments between Toto and Dorothy added real warmth to the production. It was especially impressive considering her young age, and she showed great focus and stage awareness throughout the evening.

Julie Barton brought warmth and kindness to Aunt Em, while Nick Bevan delivered some genuinely funny moments as Uncle Henry, with his lines landing well with the audience.

Roy Evans clearly enjoyed every moment as Professor Marvel and the Wizard of Oz. His performance was expressive, funny, and exactly what audiences hope for from the role, with strong character acting and excellent stage presence throughout.

The four central companions complemented each other brilliantly and played strongly to their individual strengths. Sarah Hamblett’s Scarecrow was engaging throughout, with great line delivery, strong comedic timing, and dancing that was a real strength throughout the production. If I Only Had a Brain was energetic, polished, and performed with great assurance.

John Ronsdale gave the Tinman excellent characterisation and maintained a very strong accent throughout. His vocals during If I Only Had a Heart were delivered warmly and with great sincerity.

Nick Thompson was a hugely enjoyable Cowardly Lion, bringing strong comic energy to the role from the moment he appeared on stage. However, it was The King of the Forest that became one of the standout moments of the evening. His vocals during the number were exceptional - powerful, commanding, and full of personality - completely taking control of the stage. He balanced the humour of the character brilliantly whilst still delivering genuinely impressive vocals, creating a real showstopping moment.

Katie Barton brought elegance and warmth to Glinda. Her costume was beautiful, her acting throughout was lovely, and her accent felt completely true to the character - pure Glinda from the moment she stepped on stage.

Jane Gibson’s Wicked Witch of the West had excellent stage presence throughout, with a particularly effective wicked laugh and brilliant facial expressions that really elevated the character. Her reactions during scenes added so much to the performance and made her consistently enjoyable to watch whenever she appeared on stage. Good luck getting that paint off!

The ensemble work throughout the production was great. Everyone was given their opportunity to shine. The munchkins were absolutely adorable and clearly exceptionally well rehearsed. Ding D**g the Witch is Dead was full of energy, with good singing and dancing throughout, particularly from the younger performers who performed with huge confidence and enthusiasm. The poppy and snow sequences also made effective use of the ensemble, helping maintain movement and visual interest across the stage. The production was supported throughout by a strong ensemble cast made up of Alfie, Annie, Emily, Freddie, Isla, Jenson, Lydia, Olivia, Phoebe, Rosie, Zayn, Angela, Charlotte, Lynn, Lorain, Marie, Ellie, Ellie, Hannah, Kat, Abbey, Anna, Abbie, Charlotte, Chloe, Emma and Hannah, all of whom contributed positively to the atmosphere and overall energy of the production. I do wish I could’ve heard all of their solo lines, which were sometimes too quiet.

Musically, the production was successful overall. The harmonies throughout the show sounded lovely, particularly during ensemble sections and the opening of Act Two. The musical director clearly did a strong job working with a cast performing a score with constantly shifting tempos and styles.

Act Two especially found a really strong pace, with the production settling comfortably into itself. Merry Old Land of Oz was a particularly enjoyable opening to the second half, and the Emerald City sequences were full of colour and life. Hayley Quinn’s Emerald City Guard was wonderfully characterful, bringing great humour and energy to the role and making every appearance fun to watch.

Overall, this was a warm-hearted and enjoyable production that clearly had a huge amount of care and enthusiasm behind it. Whilst there were moments that will naturally develop further as the run continues, the charm of The Wizard of Oz itself carries so much nostalgia and joy that it is very difficult not to leave smiling. If you already love the film, you’ll almost certainly find yourself toe tapping, singing along in your seat, and simply enjoying the journey down the yellow brick road.

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13/05/2026

Jesus Christ Superstar - JMTC

Jesus Christ Superstar is my all time favourite musical, so I was thrilled to be invited to watch Jarrow Musical Theatre Company stage this incredible show. The demanding rock vocals are not to be underestimated, and I applaud anyone willing to take on such huge roles! With Michelle Coulson as Director, Freda Carney as Musical Director, and Joanna Barron as Choreographer, the cast were vocally strong (the harmonies in ‘Everything’s Alright were gorgeous!) and there was some amazing dancing. I especially loved the tap dancing in ‘King Herod’s Song’. I loved the subtle influences from the recent tour, such as the staging of ‘Hosanna’ and the silver on Judas’ hands. I loved the inclusion of Mary (Jesus’ mother) at the crucifixion - something I haven’t seen done before. The stage was well utilised with many levels and a raised platform at the back. The staging of Judas’ Death was extremely effective, using lighting to disguise what was happening. The lighting on the crucifixion at the end was also very impressive.

Taking on the title role of Jesus was Brian Jordan, who portrayed a fine balance of the confident leader, with no arrogance. With a 70’s style rock vocal, Brian sang extremely well, and I particularly liked his falsetto moments. I thought his rendition of ‘Poor Jerusalem’ was very profound. Brian showed a great character development as he goes from leading the crowds confidently to realising that his demise is near. An excellent touch was when Brian carried the crucifix through the theatre - he displayed great emotion.

The antagonist (depending on how you view it) Judas was played by Joe Coulson. from the moment Joe stepped out, he commanded the stage with his rock vocal and incredible acting. It was clear that every choice was made for a reason, and everything he did was done with purpose. Joe had clearly researched this role in great detail and his performance was extremely believable. He hit some incredibly impressive belt notes as well as some gorgeous low notes showing that low notes can be just as impressive as high. Joe’s pronunciation was clear as well his intentions. His rendition of ‘Jesus Christ Superstar’ was outstanding.

As Mary Magdelene, Frances Wood was incredibly emotive shedding real tears at the death of Jesus. Her portrayal of Mary was empathetic and she has an incredibly powerful voice. Her journey from caring and loving to devastated and helpless was very powerful.

Playing the conflicted Pilate was Scott Allenby, who truly stole the show. His silky baritone notes, accompanied with some real grit made for some incredibly impressive vocals. He really showed the conflict and the inner struggle of Pilate as he asks Jesus to help himself. His empathetic portrayal was sincere and raw. His opt-up in ‘Pilate’s Dream’ surprised me, and it was a brilliant choice.

As King Herod, Colin Coulson was camp and funny, as well as being quite scary. Dressed similarly to Cabaret’s Emcee, and accompanied by tap dancing ladies, he really lightened the show with his song, and the audience loved it. I thought he was better than Julian Clary on the recent tour!

Playing two roles, Luke Carr showed his flexibility as a performer, taking on the roles of both Peter and a Priest. As Peter, he was very endearing and sung some lovely harmonies without fault. He really showed the human nature of error.

Playing Simon was Patrick Peel Yates, who was incredibly passionate and displayed great energy. I loved his number ‘Simon Zealotes’ which was sung with great conviction.

Playing Caiaphas and Annas were Grayson Wood and Gary Deans, respectively. Both were very commanding and dominated the stage. With contrasting baritone and tenor vocals, they were very strong - and evil!

Ken Richardson played the fourth Priest, adding another dimension of baritone notes, and a strong character.

With a huge adult and child ensemble, the cast were constantly moving and changing. From dancers in the temple, to devoted followers of Jesus, to an angry murderous mob. Each cast member added great depth to the performance and made for an excellent show. Jesus Christ Superstar is a huge undertaking, and extremely vocally demanding. JMTC did a wonderful job of portaying this poignant story, and did it great justice. Very well done to all!

Jesus Christ Superstar is on until May 16th At Jarrow Focus - and it is not to be missed!

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