Jesus Christ SuperStar

This iconic 1970’s Rock Musical tells the story of the last week of Jesus’ life and the struggle he faces on various levels. A well directed orchestra belted out the fabulous score finding the balance of sound between the pit and the talented singers on stage. A fixed set which allowed movement on various levels was used to advantage.

This is an emotionally charged piece with a strong story line. The focus is very much on how things are seen by Judas and Paul Lyall gave a dynamic performance in this vocally challenging role. From his opening ‘Heaven On Their Minds’ as he questions the crowds enthusiasm and curiosity in meeting Jesus to his eventual betrayal of Jesus and guilt at what he has done, he convinced us of his ever conflicting feelings and emotions. Garry Hall also gave a good performance as Jesus, a man with simple needs but yet in turmoil. ‘Gethsemane’ as he questions God and begs understanding conveyed his anguish, compassion and anger and also a fine voice.

Cara Blaikie conveyed a soulful, heartfelt portrayal of Mary Magdalene who struggles with her relationship with Jesus. ‘Everythings’s Alright’ as she tries to relax Jesus and ‘I Don’t Know How To Love Him’ were quite beautiful and sung with genuine feeling and emotion. Caiaphas (Andrew Crawford) with his rich bass voice and Annas (Gordon Horne) were a menacing, authoritative duo plotting to arrest and destroy Jesus. ‘This Jesus Must Die’ was indeed most threatening

Jesus’ prediction of his betrayal and denial at ‘The Last Supper’ was a particularly moving scene and showed off the vocal strength of the apostles. Both Simon (Andrew Knox) and Peter (Colin Povey) established their roles well. I did enjoy ‘Simon Zealotes’ and the duet ‘Could We Start Again Please?’ Donald Budge is an accomplished performer and was an impressive Pilate trying to cope with his inner turmoil as he is pushed by the crowds to crucify Jesus while he is feeling compassion in realising this is no ordinary man.

It is good to find some comedy in such a dark situation and this came in ‘Herod’s Song’ with the resplendant Herod (Richard Tebbutt) and the dancers providing some light relief. Choreography in the show was simple but effective.

E.D.G.A.S. is renowned for it’s excellent choral singing and this was very evident throughout. The crowd scenes anticipating the arrival of Jesus ‘Hosanna’, the mob in the temple and demanding a crucifiction were delivered with confidence both vocally and in characterisation.

Most effective lighting was both colourful and moody highlighting the central figures particularly Jesus glowing as the lepers crawled at his feet and the final crucifiction. Costumes were well suited to the period and situation. There were a few technical difficulties on the opening night but I’m sure these would have been easily resolved.

This was certainly a very different style of music and production for this company but it all worked well resulting in a most enjoyable production,

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