🎭 Jesus Christ Superstar
🗓️ now playing in Melbourne’s Princess Theatre before heading to Brisbane’s QPAC on 22 June
🎟️jesuschristsuperstarmusical.com.au
In this episode of Showtime, host Andrew G speaks with Pete Murphy, who is currently performing as Pontius Pilate in the Australian touring production of Jesus Christ Superstar. Pete brings a grounded, thoughtful energy to the conversation, sharing how his approach to playing Pilate is rooted in empathy and conflict rather than villainy. He explains that this production has given him the opportunity to explore the human side of a character often portrayed in a one-dimensional way. For Pete, it’s about finding the tension in Pilate’s position, understanding that he’s a man caught between political pressure and personal uncertainty, and bringing that struggle to the stage in a way that resonates with modern audiences.
What makes Pete’s insights especially compelling is that he has previously played Jesus in the Scandinavian tour of the same show. That experience gave him a deep understanding of the story’s emotional landscape from the inside out. Transitioning from the central role of Jesus to the supporting but significant role of Pilate offered a new kind of creative challenge. While Jesus demands a physically and vocally demanding performance that drives the entire narrative, Pilate requires a more restrained intensity. Pete describes the difference as being able to contribute to the momentum of the story without having to carry the emotional weight of every scene. This change in perspective has allowed him to focus on storytelling and connection in a more deliberate way.
He also reflects on the reception the show has received across different countries, comparing the Scandinavian and Australian audiences. He recalls how even without English as a first language, Scandinavian audiences grasped the story and responded to it viscerally. That, he says, is a testament to the show’s universal power and the ability of movement, music, and ensemble performance to communicate emotion across cultures. He speaks highly of the choreography and ensemble work in this production, saying it gives the piece a richness that goes well beyond the leads. The ensemble isn’t just a backdrop—they are the pulse of the production. Their precision and energy shape the emotional landscape of the show and draw the audience into every moment.
Pete shares that one of his favourite moments as a performer doesn’t even happen on stage. It’s the moment he hears the song “Poor Jerusalem” from backstage. That sound, that lead-in to his first appearance, fills him with anticipation and keeps the experience fresh every night. It’s a reminder that theatre is not only about the moments under the lights, but also the rituals and rhythms that build up around each performance.
Looking ahead, Pete is particularly excited about the show’s upcoming Brisbane leg. Performing in his hometown is a rare chance for his family and friends to see his work live, and unlike earlier in his career, when he might have felt self-conscious about that, now he welcomes it. It’s a moment of pride, especially to be part of a production that he feels is artistically strong and emotionally affecting. There’s something powerful about coming full circle, performing a major role in a beloved musical back where it all started.
Pete also takes a moment to reflect on the show itself. He notes that it’s not a feel-good musical in the traditional sense. It doesn’t wrap up with a tidy resolution or a cheery finale. Instead, it invites audiences into a challenging, emotional experience. The story, the music, and the way the show is directed take people through a kind of shared reckoning. Audiences leave not just entertained, but moved, and maybe even changed. Pete sees that as the real power of this production. It’s not just another revival. It’s a chance to feel something deeply, to see a familiar story told in a way that feels urgent and human.
He speaks with genuine admiration for his castmates, describing them as brilliant performers with no weak links. Every person on stage, he says, brings something vital to the show. The creative team has struck a strong balance between innovation and reverence, delivering a production that feels both faithful and fresh. From the tightness of the musical arrangements to the intensity of the blocking, it’s a show that thrives on discipline and passion. Pete believes that the ensemble work is what gives the show its power, and it’s clear he feels privileged to be part of something so cohesive and compelling.
As the Melbourne season enters its final weeks, Pete encourages anyone who hasn’t yet seen the show to make the effort. Whether they’re longtime fans of Jesus Christ Superstar or coming to it for the first time, he promises they’ll be taken on a journey that goes far beyond the surface. It’s not a spectacle for spectacle’s sake. It’s a piece of theatre that challenges, surprises, and stirs something deep. And for Pete Murphy, that’s exactly what makes it worth doing.
