Taking on Jesus Christ Superstar is no small feat for any company, let alone a community theatre group. In Australia, we carry the memory of the legendary John Farnham, Jon Stevens, and Kate Ceberano production in our collective consciousness — an impossible benchmark for anyone to follow. Add to that the recent professional tour, which itself divided critics and audiences alike, and Gosford Musical Society’s decision to stage this show feels both brave and ambitious.

Scott Russell’s direction took a reimagined approach, framing the story within the world of a modern tech start-up — a fresh and intriguing concept that worked well in the opening scenes. The launch-party energy and the integration of multimedia gave the audience a clever entry point into the narrative. However, the concept faded midway through the first act, dissolving into a more traditional presentation. Russell’s focus on integrating live camera work added visual flair, though it sometimes came at the expense of clear storytelling.

Musical Director Kani Lukuta took on a challenging rock score that has tested even the biggest professional bands, and while there were moments of imbalance, the passion behind the music was evident. Erin Hobden’s choreography kept the stage alive and full of motion, and Finnian Alexander’s colourful costumes contributed to the sense of spectacle, even if the time period sometimes felt fluid.

The set design, by Sam Leslie, was one of the production’s great successes — sleek, modern, and evocative of the corporate world the concept aimed to portray. It gave the audience a believable environment and helped ground the first act’s contemporary tone. The integration of live video and multimedia was technically impressive, and when used live, it enhanced the immediacy of the performance.

The ensemble worked as a cohesive and dedicated unit. Their energy was infectious, and they clearly shared a deep connection to the material. The group’s dedication to one another and to the story was one of the evening’s highlights, reflecting the strong community spirit at the heart of Gosford Musical Society.

Among the principals, several performances stood out: Dane Hockey as Simon brought charisma and focus; Eamon Moses as Caiaphas delivered evil gravitas alongside Chloe McWilliam’s sharp, confident Annas. Alexander Rowe’s Pilate was refined and commanding, and Brayden MacFarlane-Walker’s Herod offered a wonderfully eccentric, hippie-infused burst of comic relief. Alexandra Swan’s Mary provided some of the night’s most beautiful vocals, while Brandon Alexander as Judas gave a passionate, if vocally fatigued, performance.

But the show’s literal saviour came through Mitchell Pearson as Jesus, whose exceptional voice and emotional depth carried the show. His Gethsemane was breathtaking — heartfelt, powerful, and deeply human.

For audiences new to Jesus Christ Superstar, this production offers a passionate and visually striking introduction to one of musical theatre’s most iconic works, led by a company unafraid to take risks and push the boundaries of community theatre.

– The other Daniel Craig

Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world and try new gins. Follow him on all the socials @talldancraig

Jesus Christ Superstar runs for 2 hours (with a 20-minute interval) and plays at the Laycock Street Community Theatre, through 15 November 2025. Tickets are available through the Laycock Street Community Theatre.

Disclosure: The Plus Ones were guests of the Gosford Musical Theatre.

Image credit: James Beggs Imaging