Jesus Christ Superstar

It’s hard to believe that Jesus Christ Superstar had its debut on Broadway as long ago as 1971. This stunning production, with inspired direction by Jack Edwards, brought the show right up to date with modern settings and costumes, and felt completely current and relevant to modern life. It was an amazingly dramatic and thrilling piece of theatre which was utterly professional in every aspect, from start to finish. Anyone who thinks that amateur theatre is in any way inferior to professional theatre seriously needs to see this production and think again.

The musical started as a rock opera concept album and heavy rock music is what you get, in spades. Thanks to Kim Seagrove’s small but highly talented band (on stage throughout), we got top quality rock music at full volume all the way through. Thankfully the sound system (thanks to Dave Hart) was more than up to the job of balancing the singers with the band and we heard every word – essential in a show like this that is sung through. Totally appropriate modern costumes (thanks to Jayne Bratty and her team); a striking set, managed with silky smooth precision by Adrian Godfrey and team; sumptuous lighting (designed by Darren Smith) and some great effects completed the dazzling picture.

And so to the actors. Wow! What can I say? Every single person on stage excelled with their singing, dancing (great choreography by Ashley Johnson) and total engagement with what was happening.

The story centres around Judas Iscariot and his dissatisfaction with the direction in which Jesus is steering his disciples. As Judas, James Bradbury gave a stunning performance in this key role, clearly showing his anger and frustration and then later his guilt for betraying him. James’ powerful voice was well up to the many challenges of Judas’ songs and he gave 100 percent emotion to every scene. Charlie Frame’s performance as Jesus was the perfect counterpoint – gentle and loving, but sure of what he was doing, and no less powerful. Charlie also has an amazing voice, reaching the highest of notes and he handled the crucifixion scene at the end with the utmost tenderness and humility.

Charlene Murray gave a great portrayal of Mary Magdalene, the only person showing any real sympathy towards Jesus, despite the vilification from everyone around her. The Pharisees, Stuart Warner and Jo Alldridge as Caiaphas and Annas, were fittingly presented as the ruthless heads of a modern corporation. As always, both delighted us with their performances, as did Robert Day as Pontius Pilate. John Bettesworth gave a beautifully camp cameo performance as King Herod, rather bizarrely set on a golf course, but a welcome comic interlude in an otherwise very dark show.

Having watched Players’ shows now for thirty years, I know that they always achieve the highest standards, but this production exceeded my wildest expectations. Who needs to go to the West End when we’ve got top quality theatre like this right on our doorstep?

© NODA CIO. All rights reserved.