Jesus Christ Superstar

Jesus Christ Superstar needs little introduction, a popular rock opera written in 1970 with music by Andrew Lloyd Webber and lyrics by Tim Rice. The musical is sung-through with no spoken dialogue and is based on the Gospels’ account of the final week of Jesus’ life

Sunderland Theatre Company gave a modern interpretation of the musical which at times felt like watching a rock concert: the set was minimal and based on rostra and the production was supported with excellent sound and lighting.

The small band was superb and the standard of singing throughout was very good.  The ensemble was strong vocally and in performance and provided good support to the principal line up.

Daniel Dryden as Caiaphus and Samantha Kennedy as Annas portrayed their disdain for Jesus at every opportunity, good characteristation and both gave excellent vocal performances.  Molly Stobbs led the ensemble in a strong rendition of the Simon Zeolotes number and Richard Butler as Peter gave a moving vocal performance in “Could We Start Again”.

Herod’s part in the story is short lived, only one song, but Derek Cooks’ portrayal of Herod as a caricature of Donald Trump complete with wall, made it memorable and he clearly relished in the opportunity to “Trump up” this energetic lighter moment in the production.

The role of Pilate is complex, a short appearance in act one and then intense scenes in act two during the trial and these were confidently portrayed by Nathan Dippie. Cara Fowler gave a first class portrayal of Mary Magdalene with beautiful vocal performances, especially her rendition of “I don’t know how to love him”.

Mathew Clarke as Jesus gave a passionate performance and came across as the caring, loving person who won over the hearts of his followers; he also showed great pain and distress in his portrayal of  “Gethsemane” and his final scenes giving every part of himself to his performance.

As Judas Ian Bianchi gave a powerful and commanding performance; his vocals were immense and he made every second of his stage time count, never leaving his character; one of the best individual performances I have watched. I thought that Judas’ death scene worked really well with the “dementor” type characters amplifying his torment, this was great theatre.

Congratulations to the entire company and production team.

© NODA CIO. All rights reserved.